Soviet art

The term Soviet art refers to visual art produced in the former Soviet Union.

Early years

During the Russian Revolution a movement was initiated to put all arts to service of the dictatorship of the proletariat. The instrument for this was created just days before the October Revolution, known as Proletkult, an abbreviation for "Proletarskie kulturno-prosvetitelnye organizatsii" (Proletarian Cultural and Enlightenment Organizations). A prominent theorist of this movement was Aleksandr Bogdanov. Initially Narkompros (ministry of education), which was also in charge of the arts, supported Proletkult. However the latter sought too much independence from the ruling Communist Party of Bolsheviks, gained negative attitude of Vladimir Lenin, by 1922 declined considerably, and was eventually disbanded in 1932.

The ideas of Proletkult attracted the intersests of Russian avantgarde, who strived to get rid of the conventions of "bourgeois art". Among notable persons of this movement was Kazimir Malevich. However the ideas of the avantgarde eventually clashed with the newly emerged state-sponsored direction of Socialist Realism.

In search of new forms of expression, the Proletkult organisation was highly eclectic in its art forms, and thus was prone to harsh criticism for inclusion of such modern directions as impressionism and cubism, since these movements existed before the revolution and hence were associated with "decadent bourgeois art".

Among early experiments of Proletkult was pragmaic aestetic of industrial art, the prominent theoretist being Boris Arvatov.

Another group was UNOVIS, a very short-lived but influential collection of young artists lead by Kasimir Malevich in the 1920's.

ocialist Realism era

Officially approved art was required to follow the doctrine of Socialist Realism.

One of the best known official Soviet artists was Aleksandr Gerasimov. During his career he produced a large number of heroic paintings of Stalin and other members of the Politburo. Nikita Khrushchev later alleged that Kliment Voroshilov spent more time posing in Gerasimov's studio than he did attending to his duties in the People's Commissariat of Defense. Gerasimov's painting shows a mastery of classical representational techniques.

oviet Nonconformist Art

The death of Stalin in 1953, and Nikita Khrushchev's Thaw, paved the way for a wave of liberalization in the arts throughout the Soviet Union. Although no official change in policy took place, artists began to feel free to experiment in their work, with considerably less fear of repercussions than during the Stalinist period.

In the 1950s Moscow artist Eli Beliutin encouraged his students to experiment with abstractionism, a practice thoroughly discouraged by the Artists' Union, which strictly enforced the official policy of Socialist Realism. Artists who chose to paint in alternative styles had to do so completely in private and were never able to exhibit or sell their work. As a result, Nonconformist Art developed along a separate path than the Official Art that was recorded in the history books.

LIFE Magazine published two portraits by two painters, who to their mind, were most representative of Russian Arts of the period: it was Serov, an official Soviet icon and Anatoly Zverev, an underground Russian avant-garde expressionist. Serov's portrait of Lenin's and Zverev's selfportrait were associated by many with an eternal Biblical struggle of Satan and Saviour. When Khrushchev learned about the publication he was outraged and forbade all contacts with Western visitors, closed down all semi legal exhibitions. And of course Zverev was the main target of his outrage.

The Lianozovo Group was formed around the artist Oskar Rabin in the 1960s and included artists such as Valentina Kropivnitskaya, Vladimir Nemukhin, and Lydia Masterkova. While not adhering to any common style, these artists sought to faithfully express themselves in the mode they deemed appropriate, rather than adhere to the propagandistic style of Socialist Realism.

Tolerance of Nonconformist Art by the authorities underwent an ebb and flow until the ultimate collapse of the Soviet Union in 1991. Artists took advantage of the first few years after the death of Stalin to experiment in their work without the fear of persecution. In 1962, artists experienced a slight setback when Khrushchev appeared at the exhibition of the 30th anniversary of the Moscow Artist's Union at the Manege exhibition hall. Among the customary works of Socialist Realism were a few abstract works by artists such as Ernst Neizvestny and Eli Beliutin, which Khrushchev criticized as being "shit," and the artists for being "homosexuals." The message was clear: artistic policy was not as liberal as everyone had hoped.

Unfortunately, the history of late Soviet art has been dominated by politics and simplistic formulae. Both within the artworld and the general public, very little consideration has been given to the aesthetic character of the work produced in the USSR in the 1970s and 1980s. Instead, the official and unofficial art of the period usually stood in for either "bad" or "good" political developments. A more nuanced picture would emphasize that there were numerous competing groups making art in Moscow and Leningrad throughout this period. The most important figures for the international art scene have been the Moscow artists Ilya Kabakov, Erik Bulatov, Andrei Monastyrsky, Vitaly Komar and Aleksandr Melamid.

The most infamous incident regarding nonconformist artists in the former Soviet Union was the 1974 Bulldozer Exhibition, which took place in a park just outside of Moscow, and included work by such artists as Oskar Rabin, Komar and Melamid, Alexandr Zhdanov, and Leonid Sokov. The artists involved had written to the authorities for permission to hold the exhibition but received no answer to their request. They decided to go ahead with the exhibition anyway, which consisted solely of unofficial works of art that did not fit into the rubric of Socialist Realism. The KGB put an end to the exhibition just hours after it opened by bringing in bulldozers to completely destroy all of the artworks present. Fortunately for the artists, the foreign press had been there to witness the event. The world-wide coverage of it forced the authorities to permit an exhibition of Nonconformist Art two weeks later in Izmailovsky Park in Moscow.

By the 1980s, Gorbachev's policies of Perestroika and Glasnost made it virtually impossible for the authorities to place restrictions on artists or their freedom of expression. With the collapse of the Soviet Union, the new market economy enabled the development of a gallery system, which meant that artists no longer had to be employed by the state, and could create work according to their own tastes, as well as the tastes of their private patrons. Consequently, after around 1986 the phenomenon of Nonconformist Art in the Soviet Union ceased to exist.

References

*Lynn Mally "Culture of the Future: The Proletkult Movement in Revolutionary Russia". Berkeley: University of California Press, 1990.

*Norton Dodge and Alla Rosenfeld, eds. "From Gulag to Glasnost: Nonconformist Art from the Soviet Union". New York: Thames and Hudson, 1995.

*The George Costakis Collection. "Russian Avant-Garde Art". New York: Harry N. Abrams, Inc. ISBN 0-8109-1556-1

External links

* [http://ark.cdlib.org/ark:/13030/ft6m3nb4b2/ Book of Lynn Mally on Proletkult] at California Digital Library
* [http://www.russianartgallery.org/famous/soviet.htm Soviet art at the Russian Art Gallery]
* [http://www.sovietposter.blogspot.com Soviet Posters with history references]
* [http://www.allworldwars.com/Soviet%20War%20Paintings.html Soviet World War II Paintings]