Relevant bibliographies by topics / Soviet art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Soviet art'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Soviet art"

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Wu, Meng. "Designing exhibitions of Chinese art in Soviet Art Museums: from collectible to problematic method." Культура и искусство, no. 6 (June 2024): 200–212. http://dx.doi.org/10.7256/2454-0625.2024.6.70750.

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The object of research is Chinese fine art presented in Soviet museums, museum practice and scientific discourse that has developed around the study of Chinese art in the USSR. The subject of the research is the specifics of designing exhibitions of Chinese art in Soviet art museums and the issues of its historical transformation. The analysis of a number of exhibition events held in Soviet museums and dedicated to Chinese fine art is proposed. During the consideration of the topic, such issues as the factors that influenced the methods of Soviet scientists in planning Chinese expositions, the degree of their effectiveness in relation to communication between the Soviet viewer and works of Chinese fine art are traced. This material is used to reconstruct the process of transformation of Soviet art critics' approaches to presentation and communication in the field of Chinese art. The comparative historical method is used to allow a comparative analysis of the Early Soviet and late Soviet periods in order to comprehend the issues of the evolution of scientific knowledge about Chinese art, approaches to its research, museum presentation and communication in this area. A descriptive method of analyzing exhibitions and collections of Chinese fine art in Soviet museums is used. For the first time, the nature of Soviet museum studies of Chinese fine art is generalized, the approaches of Soviet researchers to presentation and communication in the field of fine art in China are revealed, and their historical transformation is traced. The main conclusions of the study are as follows. The nature of the evolution of Soviet researchers' approaches to presentation and communication in the field of Chinese fine art in USSR museums is determined by the movement towards the development of deep scientific ideas, which in the late Soviet period provide a reliable basis for the effective implementation of certain approaches to exposition planning, the complication of exhibition events, the movement of Soviet museological theory from an ideologized view of exposition material as a means education of a citizen of a new formation, to the perception of an independent artistic idea of exposition works. Since the second half of the 1980s, new principles of artistic communication between the viewer and works of fine art have been formed in the USSR: an independent artistic idea of exposition works is brought to the fore, which provides favorable conditions for the Soviet viewer to perceive traditional Chinese aesthetics as a separate phenomenon of ancient and original Chinese culture.
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Barkhin, Andrey. "Style trends in Soviet architecture of the 1930s." проект байкал, no. 78 (December 17, 2023): 38–45. http://dx.doi.org/10.51461/issn.2309-3072/78.2230.

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In 1932, the competition for the Palace of the Soviets formally proclaimed a focus on “mastering the classical heritage”. From that moment on, Soviet architects turned with passion to Italian Renaissance motifs and the tradition of domestic pre-revolutionary architecture. However, in 1934, the Palace of Soviets was accepted for construction in an innovative, ribbed style and Art Deco forms. In those years, that kind of architecture was developing abroad as well. New York and Chicago became centres of rapid growth in the number of skyscrapers in Art Deco style; the new centre of Washington was worked out in Neoclassical style. All this allows us to record the phenomenon of style parallelism in the Soviet and foreign architecture of the 1930s.
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Board, Editorial. "Cover Art." Public Voices 1, no. 3 (April 11, 2017): 6. http://dx.doi.org/10.22140/pv.462.

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Samman, Nadim Julien. "Glasnost: Soviet Non‐Conformist Art." Third Text 24, no. 5 (August 23, 2010): 623–27. http://dx.doi.org/10.1080/09528822.2010.502780.

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Andreeva, E. Yu. "Soviet Art at Art Exhibitions and Expositions of Russian Museums and Galleries in the 1990s-2020s." Art & Culture Studies, no. 4 (December 2023): 390–421. http://dx.doi.org/10.51678/2226-0072-2023-4-390-421.

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The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginalized layers of artistic culture into scientific circulation and the public sphere. In relation to this work, these are research exhibitions of the Russian-Soviet avant-garde and artistic movements of the 1920s-1930s and non-conformism of the 1940s-1980s. The goals of attraction exhibitions (the proposed term is based on S. Eisenstein’s well-known method of “the montage of attractions”) are associated with the creation of an entertaining visual environment that affects the viewer, offering them ways of understanding the Soviet past ideologized in the Soviet style. The purpose of the article is also to show how the cultural policy of temporary exhibitions affects the re-expositions of the State Russian Museum and the State Tretyakov Gallery, that is, the formation of certain patterns or scenarios for the presentation of the art of the Soviet past.
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Desai, Krupa. "The Master as a Transnational Figure: Jawaharlal Nehru in The Soviet Union." Master, Vol. 5, no. 2 (2020): 78–87. http://dx.doi.org/10.47659/m9.078.art.

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India’s Independence from the colonial rule saw the nation’s first Prime Minister Jawaharlal Nehru emerge as a powerful visual presence. At the peak of his popularity, in June 1955, he made a highly publicised 16-day visit to the USSR. This visit, made in the backdrop of the Cold War and the impending Big Four Conference, was covered in detail by the Indian and foreign press, as well as both government’s official photographers and camerapersons. Paper addresses an official album made after this iconic visit to investigate the role of photography within India-Soviet diplomatic networks. Casting Nehru as the Master persona, it delves into the function of photography in recasting his image as an international traveller, a crusader for peace, a negotiator, and a friend of the Soviet. Considering India’s and Soviet’s differing political stance and international position in that period, the article questions what does the presence of these official photographs reveal about emerging trans-national networks and if there were there any deviations in this careful reconstruction of the Master and his ally. Keywords: Nehru, photography album, diplomatic visit, Soviet Union
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Bai, Jie. "Mutual exchange of art exhibitions between China and the Soviet Union in the mid-twentieth century." Философия и культура, no. 9 (September 2023): 201–15. http://dx.doi.org/10.7256/2454-0757.2023.9.43947.

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This article mainly outlines and explores the art exhibitions held between China and the Soviet Union during the founding of the People's Republic of China. The author examines in detail such aspects of the topic as mutual exchanges of art exhibitions between China and the Soviet Union since the founding of the People's Republic of China. Particular attention is paid to the political background against which the evolution in Chinese art took place, as well as the legacy of Soviet realist art in China in the political context and the interaction of art with politics and state-building. The author emphasizes the positive influence of art exhibitions held by the Soviet Union in China on Chinese art education and the creativity of artists. The main conclusions of this study are that the various exhibitions of Soviet art held in China provided an effective opportunity for Chinese artists to study Soviet realist oil paintings. The emergence of Soviet realism in China also served as an important reference point for the development of Chinese oil painting in the 1950s. The novelty of the study lies in the fact that the author not only analyzed the process of the acceptance and dissemination of Soviet realist art in China, but also examined the beginning and end of artistic exchange between China and the Soviet Union in conjunction with the country's social environment and the political leadership of its leaders.
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Bai, Jie. "Artistic activity of Russian-Soviet artists in Harbin and Shanghai China during the period of the Republic of China (1912–1949)." Человек и культура, no. 5 (May 2023): 69–84. http://dx.doi.org/10.25136/2409-8744.2023.5.43954.

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This article mainly studies and analyzes the artistic activity of Soviet artists in Harbin and Shanghai during the period of the Republic of China. Due to their special geographical location, Harbin and Shanghai have always been centers of dissemination and artistic exchange of Soviet art and culture in China. The subject of the study is various types of art education and artistic activities that Soviet artists carried out in China during the period of the Republic of China. The object of the study is the influence that the spread of Soviet realistic painting in China had on the development of modern Chinese art in the XX century. The author pays special attention to the analysis of the profound impact that the appearance of various art studios created in China, acquaintance with the artistic work of Soviet artists, as well as training with the owl, have had on the development of modern Chinese art. Soviet art has been the basis for the development of modern Chinese art from the very beginning. The novelty of this study lies in the fact that the author addresses a little – explored topic – how the arrival of Soviet artists in China, which coincided with the "Movement of Foreign Painting" in the Republic of China, influenced the formation of Chinese art. Soviet artists strongly supported the innovative artistic creativity of Chinese artists and at the same time contributed to the dominance of Soviet realistic art in the artistic landscape during the formation of China. The main conclusions of the study are that the mass spread of Soviet art in China created new ground for traditional Chinese art, gave a continuation and a new life to traditional painting. To a certain extent, this influenced the artistic and aesthetic preferences of that time and even the general public, and also directly affected the development of Chinese art education in the XX century.
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He, Yanli. "Boris Groys and the total art of Stalinism." Thesis Eleven 152, no. 1 (May 19, 2019): 38–51. http://dx.doi.org/10.1177/0725513619849651.

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This paper’s core concern is Boris Groys’ theory of the total art of Stalinism, which is devoted to rewriting Soviet art history and reinterpreting Socialist Realism from the perspective of the equal rights between political and artistic Art Power. The aim of this article is to decode Groys and the total art of Stalinism, based on answering the following three questions: 1) why did Groys want to rewrite Soviet art history? 2) How did Groys re-narrate Soviet art history? 3) What are the pros and cons of his reordering of the total art of Stalinism? Groys offers an effective paradigm that could rethink two theoretical genres: a) other Socialist Realisms inside or outside the Soviet bloc, during or after the Soviet era; b) the aesthetical rights of political artworks before, during and after the Cold War, and the historical debates about art, especially about art for art’s sake, or art for political propaganda. However, Groys’ total art of Stalinism and its core theory of the Socialist Realism frame hides some dangers of aestheticizing Stalin and Stalinism.
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T., Tishkina, and Tishkina K. "EXHIBITIONS IN BARNAUL DEDICATED TO THE 100TH ANNIVERSARY OF THE FORMATION OF THE UNION OF SOVIET SOCIALIST REPUBLICS." Preservation and study of the cultural heritage of the Altai Territory 29 (2023): 342–50. http://dx.doi.org/10.14258/2411-1503.2023.29.52.

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The Union of Soviet Socialist Republics existed from December 30, 1922 to December 26, 1991. During this period of time, significant successes were achieved in industry, agriculture, science and culture, and a victory was won over the Fascist conquerors was won in 1945. To the 100th anniversary of the formation of the USSR in Barnaul, there were exhibitions: “Soviet Porcelain” and “The Country of the Soviets” (the State Art Museum of the Altai Territory); “The USSR in the Mirror of Art” (exhibition hall of “Museum “City”); “Art that has become History” (“Shchetinins Art Gallery”); “Greetings from the USSR” (Altai State Museum of Local Lore). The exhibitions displayed photos, works of fine and decorative art, and items of material culture created in the 1920s-1980s. The purpose of the exhibitions is to expand visitors’ knowledge of the history of Russia, form a positive image of the USSR in the minds of the younger generation and improve the patriotic mood of the citizens.
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Dissertations / Theses on the topic "Soviet art"

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Bang, Rosaria E. "Russian Art Education: A Study on Post-Soviet Perspectives." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07282006-130035/.

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Thesis (M.A.E.)--Georgia State University, 2006.
Title from title screen. Melody Milbrandt, committee chair; Mariama Ross, Teresa Bramlette Reeves, committee members. Electronic text (186 p. : col. ill.) : digital, PDF file. Deescription based on contents viewed May 10, 2007. Includes bibliographical references (p. 93-110).
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Budrytė, Kristina. "Lithuanian Abstract painting in Soviet period." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090312_110650-92526.

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The Aim of the research is to define and analyse works of Lithuanian abstract painting during the Soviet period by establishing and comparing the diversity of criticism and practices of abstract art in Lithuania over several decades (from the end of the 1950s to the 1980s). In this thesis abstract paining is treated as a radical artistic reaction in Lithuania in terms of its theoretical and historical characteristics, and the general artistic context during the Soviet period is analysed in terms of socio-political issues. This is a study of the most celebrated examples of Western European art (also American art) presenting the most recent tendencies that developed out of them and juxtaposing it with the Central European culture (as the area of Soviet influence). Western European culture and its artistic movements were a complete opposition to the artificially built Eastern Block during the Soviet period. The forced separation of this period defined its unique qualities that found one expression in Central Europe and a different one in countries occupied by the Soviets (eg. in Lithuania); it also formed the position of freedom of an alternative art. Whereas in the West abstraction, in its own time, was the great boom of modernism because it freed painting from the traditional language of ‘representation’ and illustration, in Lithuania, in its local context, it had more functions: it was considered to be the great achievement of late modernism that helped to discover newer than... [to full text]
Disertacijos santraukoje nurodomi analizuoti Lietuvos abstrakčiosios tapybos kūriniai sovietmečiu, išskiriant ir lyginant kelių dešimtmečių (nuo šeštojo pabaigos iki devintojo) dailės ir dailės kritikos įvairovę Lietuvoje. Abstrakčioji tapyba, peržvelgus jos teorinius ir istorinius akcentus, vertinama kaip radikali meninė reakcija Lietuvoje, o bendras meninis kontekstas sovietmečiu analizuojamas iš sociopolitikos problematikos perspektyvos. Tai Vakarų Europos (bei iš JAV atkeliavusių) žymiausių pavyzdžių analizė, pateikianti išsivysčiusias iš jų naująsias tendencijas ir Vidurio Europos (kaip sovietmečio įtakos lauko) kultūrų sugretinimas. Visiška priešingybe sovietmečio dirbtinai suręstam Rytų blokui buvo Vakarų Europos kultūra ir jų meninės srovės. Priverstinis to laikotarpio atskyrimas nulėmė savitumus, vienaip pasireiškusius Vidurio Europoje, kitaip – sovietų okupuotose šalyse (pvz., Lietuvoje), ir iššaukusius kitokio meno laisvės poziciją. Vakaruose abstrakcija buvo modernizmo suklestėjimas, tai reiškė išsivadavimą iš tradicinės dailės kalbos, susijusios su vaizdo atvaizdavimu. Lietuvoje abstrakcijos apraiškos turėjo ir kitokių funkcijų: plastinės meninės kalbos įvairove buvo bandoma paneigti priverstinai primestą socrealizmo ideologiją. Disertacijos santraukoje atskleidžiamos Lietuvos abstrakčiosios tapybos formavimosi prielaidos ir galimybės. Abstrakčiosios tapybos užuomazgos –– S. Kisarauskienės, V. Kisarausko darbų pavyzdžiai, J. Švažo, L. Katino ir kt. tapyba XX... [toliau žr. visą tekstą]
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Harrison, Richard W. "The development of Russian-Soviet operational art, 1904-1937, and the imperial legacy of Soviet military thought." Thesis, King's College London (University of London), 1994. https://kclpure.kcl.ac.uk/portal/en/theses/the-development-of-russiansoviet-operational-art-19041937-and-the-imperial-legacy-of-soviet-military-thought(5800e0a9-42d4-44bf-ad6d-1f24bf63729f).html.

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Davis, Randy. "BAKHTIN’S CARNIVALESQUE: A GAUGE OF DIALOGISM IN SOVIET AND POST-SOVIET CINEMA." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3442.

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This dissertation examines fifteen films produced in seven political eras from 1926 thru 2008 in Soviet / Post-Soviet Russia. Its aim is to determine if the cinematic presence of Bakhtin’s ten signifiers of the carnivalesque (parody, death, grotesque display, satirical humor, billingsgate, metaphor, fearlessness, madness, the mask, and the interior infinite) increase in their significance with the historical progression from a totalitarian State (e.g., USSR under Stalin) to a federal semi-residential constitutional republic (e.g., The Russian Federation under Yeltsin - Putin). In this study, the carnivalesque signifiers act as a gauge of dialogism, the presence of which is indicative of some cinematic freedom of expression. The implication being, that in totalitarian States, a progressive relaxation of censorship in cinema (and conversely, an increase in cinematic freedom of expression) is indicative of a move towards a more representative form of governance, (e.g., the collapse of the totalitarian State). The fifteen films analyzed in this study include: Battleship Potemkin (1925), End of St. Petersburg (1927), Chapaev (1934), Ivan the Terrible, Part II (1946, released in 1958), Spring on Zarechnaya Street (1956), The Cranes are Flying (1957), Stalker (1979), Siberiade (1979), The Legend of Suram Fortress (1984), Repentance (1984, released in 1987), Cold Summer of 1953 (1987), Little Vera (1988), Burnt by the Sun (1994), House of Fools (2002) and Russian Ark (2002). All fifteen films were produced in the Soviet/Post-Soviet space and directed by Russian filmmakers; hence, the films portray a distinctly Russian perspective on reality. These films emphasize various carnivalesque features including the reversal of conventional hierarchies, usually promoting the disprivileged masses to the top, thus turning them into heroes at the expense of traditional power structures.
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Buhler, Clinton J. "Life Between Two Panels: Soviet Nonconformism in the Cold War Era." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366080515.

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Goff, Samuel Alec. "Physical culture and the embodied Soviet subject, 1921-1939 : surveillance, aesthetics, spectatorship." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273344.

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My thesis examines visual and written culture of the interwar Soviet Union dealing with the body as an object of public observation, appreciation, and critique. It explores how the need to construct new Soviet subjectivities was realised through the figure of the body. I explore the representation of ‘physical culture’ (fizkul’tura), with reference to newspapers, specialist fizkul’tura and medical journals, and Party debates. This textual discourse is considered alongside visual primary sources – documentary and non-fiction film and photography, painting and sculpture, and feature films. In my analysis of these visual primary sources I identify three ‘categories of looking’ – surveillance, aesthetics, and spectatorship – that I claim structure representations of the embodied Soviet subject. My introduction incorporates a brief history of early Soviet social psychological conceptualisations of the body, outlining the coercive renovative project of Soviet subjectification and introducing the notion of surveillance. My first and second chapters explore bodily aesthetics. The first focuses on non-fiction media from the mid- to late-1920s that capture the sporting body in action; this chapter introduces the notion of spectatorship and begins to unpack the ideological function of how bodies are observed. The second further explores questions of bodily aesthetics, now in relation to fizkul’tura painting and Abram Room’s 1936 film, Strogii iunosha. My third chapter looks at fizkul’tura feature films from the mid- 1930s to explore how bodies were related to social questions of gender and sexuality, including marriage and pregnancy. My final chapter focuses on cinematic representations of football from the late 1930s and the relationship between bodies on display and onlooking crowds. These two chapters together indicate how the dynamic between the body and its spectator (whether individual or in a group) was reimagined in the late interwar years; the body’s aesthetic appeal is now of little importance compared to its ability to constitute a public subjectivity through the manipulation of emotion, trauma, and pathos.
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Brewin, Jennifer Ellen. "Navigating 'national form' and 'socialist content' in the Great Leader's homeland : Georgian painting and national politics under Stalin, 1921-39." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290266.

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This thesis examines the interaction of Georgian painting and national politics in the first two decades of Soviet power in Georgia, 1921-1939, focussing in particular on the period following the consolidation of Stalin's power at the helm of the Communist Party in 1926-7. In the Stalin era, Georgians enjoyed special status among Soviet nations thanks to Georgia's prestige as the place of Stalin's birth. However, Georgians' advanced sense of their national sovereignty and initial hostility towards Bolshevik control following Georgia's Sovietisation in 1921 also resulted in Georgia's uniquely fraught relationship with Soviet power in Moscow in the decades that followed. In light of these circumstances, this thesis explores how and why the experience and activities of Georgian painters between 1926 and 1939 differed from those of other Soviet artists. One of its central arguments is that the experiences of Georgian artists and critics in this period not only differed significantly from those of artists and critics of other republics, but that the uniqueness of their experience was precipitated by a complex network of factors resulting from the interaction of various political imperatives and practical circumstances, including those relating to Soviet national politics. Chapter one of this thesis introduces the key institutions and individuals involved in producing, evaluating and setting the direction of Georgian painting in the 1920s and early 1930s. Chapters two and three show that artists and critics in Georgia as well as commentators in Moscow in the 1920s and 30s were actively engaged in efforts to interpret the Party's demand for 'national form' in Soviet culture and to suggest what that form might entail as regards Georgian painting. However, contradictions inherent in Soviet nationalities policy, which both demanded the active cultivation of cultural difference between Soviet nationalities and eagerly anticipated a time when national distinctions in all spheres would naturally disappear, made it impossible for an appropriate interpretation of 'national form' to be identified. Chapter three, moreover, demonstrates how frequent shifts in Soviet cultural and nationalities policies presented Moscow institutions with a range of practical challenges which ultimately prevented them from reflecting in their exhibitions and publications the contemporary artistic activity taking place in the republics of the Caucasus and Central Asia. A key finding of chapters four and five concerns the uniquely significant role that Lavrenty Beria, Stalin's ruthless deputy and the head of the Georgian and Transcaucasian Party organisations, played in differentiating Georgian painters' experiences from those of Soviet artists of other nationalities. Beginning in 1934, Beria employed Georgian painters to produce an exhibition of monumental paintings, opening at the Tretyakov Gallery in Moscow in 1937, depicting episodes from his own falsified history of Stalin's role in the revolutionary movement in Transcaucasia. As this thesis shows, the production of the exhibition introduced an unprecedented degree of direct Party supervision over Georgian painting as Beria personally critiqued works by Georgian painters produced on prescribed narrative subjects in a centralised collective studio. As well as representing a major contribution to Stalin's personality cult, the exhibition, which conferred on Georgian painters special responsibility for representing Stalin and his activities, was also a public statement of the special status that the Georgians were now to enjoy, second only to that of the Russians. However, this special status involved both special privileges and special responsibilities. Georgians would enjoy special access to opportunities in Moscow and a special degree of autonomy in local governance, but in return they were required to lead the way in declaring allegiance to the Stalin regime. Chapter six returns to the debate about 'national form' in Georgian painting by examining how the pre-Revolutionary self-taught Georgian painter, Niko Pirosmani, was discussed by cultural commentators in Georgia and Moscow in the 1920s and 30s as a source informing a Soviet or Soviet Georgian canon of painting. It shows that, in addition to presenting views on the suitability of Pirosmani's painting either in terms of its formal or class content, commentators perpetuated and developed a cult of Pirosmani steeped in stereotypes of a Georgian 'national character.' Further, the establishment of this cult during the late 1920s and early 1930s seems to have been a primary reason for the painter's subsequent canonisation in the second half of the 1930s as a 'Great Tradition' of Soviet Georgian culture. It helped to articulate a version of Georgian national identity that was at once familiar and gratifying for Georgians and useful for the Soviet regime. The combined impression of cultural sovereignty embodied in this and other 'Great Traditions' of Soviet Georgian culture and the special status articulated through the 1937 exhibition allowed Georgian nationalism to be aligned, for a time, with support for Stalin and the Soviet regime.
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Holland, Nicole Murphy. "Worlds on view visual art exhibitions and state identity in the late Cold War /." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3397171.

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Thesis (Ph. D.)--University of California, San Diego, 2010.
Title from first page of PDF file (viewed March 30, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references.
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Dyshlyuk, Liubov <1987&gt. "Soviet Cinema in Italy in the Post-War Period (1950-1970)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amsdottorato.unibo.it/8226/1/dyshlyuk_liubov_tesi.pdf.

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The doctoral dissertation develops the Italian-Soviet relations in cinema in the post-war years and the history of the Soviet cinema presence in Italy. Interdisciplinary character of the research united history and cinema in that period of the XXth century when culture totally depended on the geopolitical situation. The object of the work was the historical material connected with the presence of Soviet cinema in Italy that have not yet been studied and united in one work. There was done an archival work in order to find out all the Soviet cinema festivals that appeared in Italy in the mentioned period in different Italian cities, their organizers, distributors and the amount of the spectators involved. It became clear what films arrived from the USSR, what impression they made on Italian critics and spectators. For that purpose the Italian mass media of the period was also studied. The fullest list of films made in Italian-Soviet co-production and their stories from both points of views was also one of the research’s results. As well as the first time revealed from the Venice Film Festival’s archive the detailed list of the Soviet films and their awards. The archive work and bilateral relations studies demanded several methodological approaches to be used: comparative historical method, text-based method and problematic chronological method. The research made it possible to follow the whole dynamics of the Italian-Soviet cinema processes from the total absence in the beginning of 1950s to the cinema festivals and co-productions. The contribution of the prominent figures in building those bilateral relations was also reflected in the dissertation. Important task was realized by uniting Italian and Russian archival and scientific sources and could be used in future by cinema experts interested in the Soviet cinema presence in European countries or in Italian cinema distribution, circuits, etc.
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Nobre, Maria José. "Inner speech as the basis for artistic conceptualization : Soviet psycholinguistics and semiotics of art /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487323583620267.

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Books on the topic "Soviet art"

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Gallery, Saatchi, ed. Art riot: Post-Soviet actionism. Place of publication not identified]: ABCdesign Studio, 2017.

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Regina, Khidekel, and Frederick R. Weisman Art Museum., eds. It's the real thing: Soviet and post-Soviet sots art & American pop art. Minneapolis, Minn: Frederick R. Weisman Art Museum, 1998.

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Ristolainen, Mari. Preferred realities: Soviet and post-Soviet amateur art in Novorzhev. [Helsinki]: Aleksanteri Institute, 2008.

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Ristolainen, Mari. Preferred realities: Soviet and post-Soviet amateur art in Novorzhev. [Helsinki]: Aleksanteri Institute, 2008.

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A, Leni͡a︡shin V., ed. The Soviet character: Paintings by Soviet artists, 1960s-1980s. Leningrad: Aurora Art Publishers, 1986.

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Khidekel, Regina. It's the real thing: Soviet and post-Soviet sots art and American pop art. Minneapolis, Minn: Frederick R. Weisman Art Museum, 1998.

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P, Yuperova I., ed. Sovietik Kazakhstany Baynieliu Oneri =: Fine arts of Soviet Kazakhstan. [sl]: Oner, 1990.

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Overland Gallery of Fine Art (Wayzata, Minn.), ed. Soviet impressionism, 1930-1980. Wayzata, Minn: Overland Gallery of Fine Art, 1994.

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Smeli︠a︡nskiĭ, A. M. Oleg Yefremov: Masters of Soviet art. Moscow: Novosti Press Agency Publ. House, 1988.

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V, Cherkasova N., and Kant͡s︡edikas A. S, eds. Folk art in the Soviet Union. New York: Harry N. Abrams, 1990.

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Book chapters on the topic "Soviet art"

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Porri, Anneli. "Two Images of a Spaceman in Estonian Art." In Soviet Space Culture, 266–80. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307049_20.

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Vizner, Tatjana. "Acculturation of Soviet Immigrants." In Psychiatry The State of the Art, 581–85. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_92.

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Biggs, John. "Art and Art Education in the USSR." In Western Perspectives on Soviet Education in the 1980s, 160–90. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-07179-1_9.

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Bonnell, Victoria E. "12. The Iconography of the Worker in Soviet Political Art." In Making Workers Soviet, edited by Lewis H. Siegelbaum and Ronald Grigor Suny, 341–75. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501718144-015.

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Seibert, Theodor. "Soviet Art." In Red Russia, 219–33. Routledge, 2017. http://dx.doi.org/10.4324/9781315113265-12.

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Kelly, Catriona. "Trust in Talent." In Soviet Art House, 298–315. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0012.

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This chapter examines the career of Ilya Averbakh, whose work more than any other director’s came to signify to 1970s audiences the essence of “Lenfilm style.” It contends that a key factor in Averbakh’s easy progress to authority among his elders was his capacity to inspire trust not just by his professional standing within the world of cinema, or his elite Leningrad background, but by virtue of his former professional life as a physician—that is, his membership of a group that enjoyed particularly high esteem from the Soviet population generally. The chapter also traces the resonance of trust in Averbakh’s own films, and particularly, Degree of Risk (which represents a cardiologist) and Monologue, where a scientist’s difficult path to professional rehabilitation is juxtaposed to his increasingly tense relations with his student-age granddaughter.
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Kelly, Catriona. "Hystoria." In Soviet Art House, 433–50. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0020.

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Aleksei German’s recollections of his time at Lenfilm emphasize his own marginality and beleaguered status. The documentary record does not bear this out. However, the conviction that he had endured discrimination and misery was, for German, creatively energizing. Whether in relation to his own life or in relation to history more broadly, German sought not to establish facts in order to challenge or undermine myths, but to use myths of his own to challenge official myths. In other words, he tried to combat official war history on its own terms, rather than searching for alternative, antimythic narratives. Hence the provocativeness of German’s historical films with the agencies that were charged with protecting the integrity of official memory. Added to this, it was the emotional resonance of German’s historical films that made them problematic, their frequent recourse to hysteria not just in the sense of uncontrollable weeping, shrieking, and laughter, but in the technical, Freudian, sense, where hysteria applies to a specific worldview and set of discursive principles. This chapter traces these elements with particular reference to My Friend Ivan Lapshin, perhaps German’s greatest film, which also represented a decisive break with the “Lenfilm style” of the late 1960s and 1970s, and the start of a new artistic era.
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Kelly, Catriona. "Big Hopes and Trouble, 1961–1969." In Soviet Art House, 30–76. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0002.

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In 1961, the government bodies responsible for film production (the Ministries of Culture of the USSR and RSFSR) forcibly imposed on a reluctant Lenfilm the complete reorganization of production planning. The old Scripts Department was shut down and three “creative units” set up. This change was pushed through by Lenfilm’s energetic and flamboyant new general director, Ilya Kiselev, who had begun his career as an actor. Of the creative units, the earliest to emerge was the Third Creative Unit, which soon had a role as the flagship of contemporary cinema, a genre heavily promoted during the Thaw. However, the Third Creative Unit ran into increasing trouble as political control tightened after Khrushchev was forced to resign, and in 1969, it was closed down altogether. Yet life was not always calmer in the other units, as witnessed in particular by the difficulties that gripped the Second Creative Unit’s efforts to produce movies commemorating the fiftieth anniversary of the October Revolution in 1967, and by the problems of the First Creative Unit in establishing its own character and repertoire. At the same time, the general political line at this period, while unpredictable, was not uniformly harsh, as manifested in the conclusion of Leningrad’s Party leader that audiences could “make up their own mind” about a film he disliked.
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Kelly, Catriona. "Cast a Cold Eye." In Soviet Art House, 385–400. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0017.

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Boris Frumin was perhaps Lenfilm’s most obstinate younger director when it came to the editorial and vetting process, and in the case of The Errors of Youth (1978), the result was a major conflict both with the studio and with Goskino. What appeared to be a harmless script by Eduard Topol turned into a film that resembles a Soviet version of Lindsay Anderson’s O Lucky Man! Frumin’s movie provoked outrage, during vetting, with a whole range of bureaucracies, including the army, the Party, and Goskino. After the tragic death of Stanislav Zhdanko, the film’s lead actor, and the emigration from the USSR of Topol, and then Frumin himself, the movie was abandoned before completion and shelved. It was later to become a hit of the perestroika era. This chapter examines the vicissitudes that beset Frumin’s project, many of them related to the insolently detached demeanor of the movie’s hero.
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Kelly, Catriona. "Fervor and Tenderness." In Soviet Art House, 333–49. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548363.003.0014.

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The production of “major films” was an insistent preoccupation of Soviet cinema’s regulatory bodies both at government and at Party levels. A director regarded as particularly successful in this respect was Gleb Panfilov. His 1975 film, May I Speak?, addressed issues of personal responsibility. The balance of public and family duties, which were of enormous importance in political debates at the time the screenplay was written, and its sympathetic portrait of a leading official were reassuring to commentators at Goskino and in Party offices at various levels. Panfilov was, unlike most younger artists at Lenfilm, a member of the Party and valued his parents’ Communist principles. The argument of some post-Soviet commentators—that May I Speak? represents a veiled attack upon its protagonist, Elizaveta Uvarova—is difficult to sustain. Yet Uvarova remains an ambiguous figure, and the treatment of her is enigmatic, not least in terms of gender identities, as the discussion here shows.
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Conference papers on the topic "Soviet art"

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Zemtsov, Boris. "Soviet Art in the Making, 1917-1930s." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.178.

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Honcharenko, K. S. "THE LINGERING ECHO OF SOVIET ART IN TODAY’S SOCIO-CRITICAL ART." In АКТУАЛЬНІ ПРОБЛЕМИ РОЗВИТКУ УКРАЇНСЬКОГО ТА ЗАРУБІЖНОГО МИСТЕЦТВ: КУЛЬТУРОЛОГІЧНИЙ, МИСТЕЦТВОЗНАВЧИЙ, ПЕДАГОГІЧНИЙ АСПЕКТИ. Liha-Pres, 2023. http://dx.doi.org/10.36059/978-966-397-317-3-41.

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Presnyakov, K. A., and A. A. Kupriyanova. "ROMANTICISM AS A STYLE IN SOVIET CULTURE AND ART." In A glance through the century: the revolutionary transformation of 1917 (society, political communication, philosophy, culture). Vědecko vydavatelskě centrum «Sociosfera-CZ», 2017. http://dx.doi.org/10.24045/conf.2017.1.9.

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Vavilov, Vladimir P. "Soviet IR imagers and their applications: short state of the art." In San Diego, '91, San Diego, CA, edited by Bjorn F. Andresen, Marija Scholl, and Irving J. Spiro. SPIE, 1991. http://dx.doi.org/10.1117/12.48755.

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Saiko, E. A. "The phenomenon of «Soviet childhood» in the retrospective of art criticism." In Современные проблемы книжной культуры: основные тенденции и перспективы развития: памяти члена-корреспондента РАН В.И. Васильева. Москва: Федеральное государственное бюджетное учреждение науки Научный и издательский центр "Наука" Российской академии наук, 2021. http://dx.doi.org/10.52929/978-5-6046447-2-0_377.

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Flechsig, Amrei. ""Our Friend Alan Bush": Alan Bush and Soviet Musicology." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.162.

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Zora, Viktoria. "Cultural Propaganda and Anglo-Soviet Music Exchanges 1941-1948." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.36.

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Zhurkova, Daria. "Russian Biopics About Popular Soviet Musicians: Between Conventions, Past and Reality." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.017.

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Юрасовская, Н. М. "RUSSIAN TRACE IN THE FINE ART OF ART DECO." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.27.

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Декоративный стиль ар-деко, родившийся во Франции как шикарный fashion- style в 1910–1930-х гг., занял все уровни проектирования жизненной среды от моды, рекламы, дизайна интерьеров и техники — до архитектуры небоскребов, кинофильмов, музыкальных ораторий, а также произведений изобразительного искусства. Немалую роль в формировании и развитии ар-деко сыграли русские художники первой трети ХХ в. Среди них важное место занимали представители отечественной эмиграции первой волны, уехавшие в годы революции из России уже состоявшимися мастерами. Долгое время в Советском Союзе они оказывались за пределами внимания историков искусства. Art Deco decorative style, born in France as a chic fashion- style, in 1910–30-ies occupied all, levels of design of the living environment from fashion, advertising, interior design and technology — to the architecture of skyscrapers, films, musical oratorios, as well as works of fine art art. Russian artists of the fi rst third of the twentieth century played a significant role in the formation and development of Art Deco. Among them, an important place was occupied by representatives of the first wave of domestic emigration, who left Russia during the years of the revolution as already accomplished masters. For a long time in the Soviet Union they were beyond the attention of art historians.
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Raimkulova, A. "Eurasian archaic in the post-soviet Kazakhstan art (on example of composers’ creativity)." In Scientific achievements of the third millennium. "LJournal", 2017. http://dx.doi.org/10.18411/scc-30-09-2017-14.

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Reports on the topic "Soviet art"

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Stolfi, Russel H. Soviet Naval Operational Art: The Soviet Approach to Naval War Fighting. Fort Belvoir, VA: Defense Technical Information Center, September 1988. http://dx.doi.org/10.21236/ada207069.

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Orenstein, Harold S. Selected Readings in the History of Soviet Operational Art. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada231842.

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Glantz, David M. Soviet Operational Art and Tactics in the 1930's. Fort Belvoir, VA: Defense Technical Information Center, March 1990. http://dx.doi.org/10.21236/ada232954.

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Kipp, Jacob W. Undersea Warfare in Russian and Soviet Naval Art, 1853-1941. Fort Belvoir, VA: Defense Technical Information Center, June 1989. http://dx.doi.org/10.21236/ada231840.

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Glantz, David M. The Great Patriotic War and the Maturation of Soviet Operational Art: 1941-1945. Fort Belvoir, VA: Defense Technical Information Center, April 1987. http://dx.doi.org/10.21236/ada194152.

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Boone, Donald M. Goliath Falls Again: Soviet Failure to Exercise Operational Art in the Afghanistan War. Fort Belvoir, VA: Defense Technical Information Center, May 1997. http://dx.doi.org/10.21236/ada328179.

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, April 2024. http://dx.doi.org/10.32370/ia_2024_01_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Gandzyuk, Vitaliy. KEYWORDS IN THE CONTEXT OF PUBLICATIONS OF THE JOURNAL «SUCHASNIST». Ivan Franko National University of Lviv, March 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12138.

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The article examines the publicistic texts of the journal «Suchasnist», which at various times of its existence developed the national idea, united Ukrainians, supported the patriotic spirit, oriented politically, informed about the events of cultural life, published new works of art by domestic writers, revealed to readers the names of those banned during the Soviet era talented representatives of the Ukrainian diaspora. The main problems of the journal in the last years of its operation have been clarified. The issue of the negative impact of the entire Russian and Soviet heritage on the development of Ukraine, the unreliability of many historical facts and their manipulation, the peculiarities of Ukrainian democracy, the strengthening of the influence of the oligarchy, the inertia of civil society, and the decline of national culture is considered. The place of keywords in the context of journal publications, which are characterized by frequency of use and additional associative subtext, is determined. Key words: Ukraine, independence, civil society, nationalism, Ukrainian elite, power, revolution.
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BALYSH, A. HOUSING CONSTRUCTION IN THE USSR IN THE 20T-30TH OF THE TWENTIETH CENTURY AND THE INFLUENCE OF THIS FACTOR ON THE DEVELOPMENT OF HEAVY AND DEFENSE INDUSTRY. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-2-14-23.

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The aim of the article. How state-of-the-art in the field of home building influenced onto capital constructing in defense industry, putting into exploitation and operation of the new military plants during the industrialization period is examined. Methodology. General principles of historism and objectivity are the theoretical-methodological base of this work. Author also uses special historical methods: logic, systematic, chronological, actualisation and periodizing. Results. This article is based on documents storing in the Russian State Archive and Russian State Economical Archive. Collections of historical documents related to the Soviet period of Russian history are also used. On the base of these documents it is shown that poor situation in the field of home building was the reason of persistent deficits of building and exploitation workers. Due to this fact it was impossible to apply the funds given by the Government for building some plants (especially at the periphery), building works were delayed and proper operation of already built ones was spoiled. These problems were not completely solved till the beginning of the Great Patriotic War. All this effected negatively to the Red Army combat readiness before and during the war, especially at the beginning period. Practical application. The field of results application. Practical significance of this work is as follows: the archive data, which are for the first time used for scientific investigation and also the conclusions formulated in this article can be used for further scientific research on the USSR military industry in the industrialization period and also for scientific research on the USSR period in general.
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