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Journal articles on the topic 'Soviet art'
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1
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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Andreeva, Ekaterina Yu. "Sovietness in the Art of Vladislav Mamyshev-Monroe." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 69–82. http://dx.doi.org/10.21638/spbu15.2021.105.
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The article is devoted to the recycling of Soviet images in the works of Vladislav Mamyshev-Monroe from 1987–2006. In his multidisciplinary work, Vladislav Mamyshev (1969–2013),an artist, writer, actor, professor of the original genre department of the New Academy of Fine Arts, repeatedly reproduced images from Soviet cinema and pop culture. In the make-up of Marilyn Monroe, he performed Soviet songs at concerts and in video clips. He portrayed Alla Pugacheva, Lenin and Krupskaya, an episode of Stierlitz meeting with his wife from the movie Seventeen Moments of Spring in performances and photo portraits. Mamyshev also wrote several philosophical treatises on the Russian and Soviet mentality and history. Mamyshev’s existential performance, associated with ancient practices of holy foolishness and parrhesia, is considered in the dynamics of post-Soviet history. In 1990, in remakes of Politburo portraits, he transformed the Soviet gerontocrats into the beauties of world cinema, “correcting the karma” of the Soviet regime. In a Pirate Television report on August 19, 1991, Mamyshev opposed the abolition of Gorbachev’s reforms. In the early 1990s, he put forward the idea of a fabulous folklore matrix of the Russian and Soviet unconscious and noted the beginning of the contamination of Russian and Soviet history in the post-Soviet consciousness. In the late 1990s, Mamyshev in the image of Lyubov Orlova explored the complex of Soviet ideas about perfection, which have both a mobilizing and deadening socio-cultural impact. Representing Soviet images, Mamyshev focuses on their totalitarian state message and at the same time their reflection in the individual consciousness, aimed at finding ideal love and happiness, showing the inevitable tragic break in the functional connection between Soviet ideology and Russian reality.
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Erokhina, Tatiyana I., and Ruslan E. Shamshadinov. "«Soviet school of juggling»: ideological and aesthetic aspects." Yaroslavl Pedagogical Bulletin 2, no. 119 (2021): 182–89. http://dx.doi.org/10.20323/1813-145x-2021-2-119-182-189.
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The article is devoted to understanding the ideological and aesthetic aspects of the formation of the Soviet circus art. The authors turn to the analysis of the origins of the Soviet circus, noting its genetic connection with pre-revolutionary circus performances, as well as with the attitudes of the Soviet state to the formation of a new Soviet art and Soviet man. The purpose of the study was to understand the genesis of the Soviet school of juggling, the formation of which falls at the beginning of the formation of the Soviet state. The article considers the factors that influenced the ideological and aesthetic specifics of Soviet circus art, as well as the factors that influenced the transformation of the concept of circus performance in Soviet culture. Turning to the history of circus art, the authors analyze the sociocultural context of the formation of the «Soviet school of juggling», noting the synthesis of ideological attitudes that position the Soviet circus as a means of forming and educating a new personality, and aesthetic activities that create a life-affirming image of the Soviet circus artist. The authors note the signs of the «Soviet circus school», focus on thetheatricality of circus performances, the formation of specialized educational institutions in the Soviet state for the training of a new generation of professional circus artists. Referring to the performances and techniques of the most outstanding Soviet jugglers-E. Abert, A. Kiss, S. Ignatov – the authors come to the conclusion that the concept of «Soviet school of juggling» was the result of the aesthetic and ideological attitudes of the Soviet state. The «Soviet School of Juggling» is a metaphor that aims to emphasize the ideological differences between the Soviet state and the capitalist countries, as well as to assert the superiority of Soviet art.
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Fowler, Mayhill C. "What Was Soviet and Ukrainian About Soviet Ukrainian Culture? Mykola Kulish’sMyna Mazailoon the Soviet Stage." Nationalities Papers 47, no. 3 (May 2019): 355–65. http://dx.doi.org/10.1017/nps.2019.12.
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AbstractIn the Soviet Union theatre was an arena for cultural transformation. This article focuses on theatre director Les Kurbas’ 1929 production of playwright Mykola Kulish’sMyna Mazailo, a dark comedy about Ukrainianization, to show the construction of “Soviet Ukrainian” culture. While the Ukrainian and the Soviet are often considered in opposition, this article takes the culture of the Ukrainian Soviet Socialist Republic seriously as a category. Well before Stalin’s infamous adage “national in form and socialist in content,” artists like Kulish and Kurbas were engaged in making art that was not “Ukrainian” in a generic Soviet mold, or “Soviet” art in a generic “Ukrainian” mold, but rather art of an entirely new category: Soviet Ukrainian. Far from a mere mouthpiece for state propaganda, early Soviet theatre offered a space for creating new values, social hierarchies, and worldviews. More broadly, this article argues that Soviet nationality policy was not only imposed from above, but also worked out on the stages of the republic by artists, officials, and audiences alike. Tracing productions ofMyna Mazailointo the post-Soviet period, moreover, reveals a lingering ambiguity over the content of culture in contemporary Ukraine. The state may no longer sponsor cultural construction, but theater remains a space of cultural contestation.
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Kodres, Krista. "Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case." Artium Quaestiones, no. 30 (December 20, 2019): 211–23. http://dx.doi.org/10.14746/aq.2019.30.10.
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The paper deals with renewal of socialist art history in the Post-Stalinist period in Soviet Union. The modernisation of art history is discussed based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Leninist aesthetic and approach to art and art history. In the art context, the idea of progressiveness began to be reconsidered. In previous discourse, progress was linked with the “realist” artistic method that sprang from a progressive social order. Now, however, art historians found new arguments for accepting different cultures of form, both historical and contemporary, and often these arguments were “discovered” in Marxism itself. As a result, from the middle of 1950’s Soviet art historians fell into two camps in interpreting Realism: the dogmatic and revisionist, and the latter was embraced in Estonia. In 1967, a work was published by the accomplished artist Ott Kangilaski and his nephew, the art historian Jaak Kangilaski: the Kunsti kukeaabits – Basic Art Primer – subtitled “Fundamental Knowledge of Art and Art History.” In its 200 pages, Jaak Kangilaski’s Primer laid out the art history of the world. Kangilaski also chimed in, publishing an article in 1965 entitled “Disputes in Marxist Aesthetics” in the leading Estonian SSR literary journal Looming (Creation). In this paper the Art Primer is under scrutiny and the deviations and shifts in Kangilaski’s approach from the existing socialist art history canon are introduced. For Kangilaski the defining element of art was not the economic base but the “Zeitgeist,” the spirit of the era, which, as he wrote, “does not mean anything mysterious or supernatural but is simply the sum of the social views that objectively existed and exist in each phase of the development of humankind.” Thus, he openly united the “hostile classes” of the social formations and laid a foundation for the rise of common art characteristics, denoted by the term “style.” As is evidenced by various passages in the text, art transforms pursuant to the “will-to-art” (Kunstwollen) characteristic of the entire human society. Thus, under conditions of a fragile discursive pluralism in Soviet Union, quite symbolic concepts and values from formalist Western art history were “smuggled in”: concepts and values that the professional reader certainly recognised, although no names of “bourgeois” authors were mentioned. Kangilaski relied on assistance in interpretation from two grand masters of the Vienna school of art history: Alois Riegl’s term Kunstwollen and the Zeitgeist concept from Max Dvořák (Zeitgeist, Geistesgeschichte). In particular, the declaration of art’s linear, teleological “self-development” can be considered to be inspiration from the two. But Kangilaski’s reading list obviously also included Principles of Art History by Heinrich Wölfflin, who was declared an exemplary formalist art historian in earlier official Soviet historiography. Thaw-era discursive cocktail in art historiography sometimes led Kangilaski to logical contradictions. In spite of it, the Primer was an attempt to modernise the Stalinist approach to art history. In the Primer, the litmus test of the engagement with change was the new narrative of 20th century art history and the illustrative material that depicted “formalist bourgeois” artworks; 150 of the 279 plates are reproductions of Modernist avant-garde works from the early 20th century on. Put into the wider context, one can claim that art history writing in the Estonian SSR was deeply engaged with the ambivalent aims of Late Socialist Soviet politics, politics that was feared and despised but that, beginning in the late 1950s, nevertheless had shown the desire to move on and change.
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Choriyev Sanjar Hamzaevich. "PRINCIPLES OF LENINIST PARTISANSHIP IN LITERATURE AND ART." European Journal of Learning on History and Social Sciences 1, no. 5 (May 18, 2024): 39–41. http://dx.doi.org/10.61796/ejlhss.v1i5.546.
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The partisanship of Soviet literature and art, the Marxist-Leninist doctrine and party leadership of literature and art, and the manifestation of partisanship in Uzbek Soviet literature and art are discussed
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Luk’yanenko, Egor V. "SOVIET PROPAGANDA PORCELAIN: IDEOLOGY VS ART." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 86–97. http://dx.doi.org/10.28995/2686-7249-2022-7-86-97.
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The object of research of this article is Soviet propaganda porcelain, produced at the very beginning of the formation of Soviet Russia. The paper considers the beginning of the formation of a new porcelain production after the October Revolution of 1917, which took part in the framework of the Soviet monumental propaganda plan. This plan was developed by the leader of the revolution V.I. Lenin. The transformation of artistic techniques and images used on products made of “white gold” was also analyzed. The image on plates, vases, cups of communist slogans, symbols and portraits of revolutionary persons marked the beginning of the creation of such a unique phenomenon as propaganda porcelain, which was supposed to educate Soviet citizens in the context of party policy. The best Russian artists and sculptors of the first quarter of the 20th century worked on its creation. Therefore, the propaganda porcelain turned out to be highly artistic, which was the reason for its success at the international exhibitions and popularity among foreign collectors. However, this fact, combined with the complexity of production, has formed a high cost of products. This did not allow plates and cups with party calls and portraits of the leaders of the proletariat to penetrate into the wider population and conduct ideological propaganda in the everyday life. At the same time, through the products exhibited abroad, a demonstration of Soviet attributes and culture in general was made, which positively influenced the recognition of the new Russia abroad as an objective reality.
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Onen, Leyla. "Soviet Art Movements between 1917-1990." Art and Design Review 09, no. 02 (2021): 131–47. http://dx.doi.org/10.4236/adr.2021.92012.
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Fattal, Laura. "Collections of Russian and Soviet Art." Russian Review 52, no. 1 (January 1993): 91. http://dx.doi.org/10.2307/130860.
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Makhlina, Svetlana Tevel’evna. "Aesthetics and art in Soviet period." Vestnik of Saint Petersburg State University of Culture 1 (March 2019): 71–74. http://dx.doi.org/10.30725/2619-0303-2019-1-71-74.
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Lindey, Christine. "Art of the Soviet avante garde." Theory & Struggle 115 (April 2014): 18–19. http://dx.doi.org/10.3828/ts.2014.7.
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Otdelnova, V. A. "SOVIET ART OF THE SECOND HALF OF THE 20TH CENTURY AS PART OF THE WORLD ART PROCESS: METHODOLOGICAL APPROACHES AND PERSPECTIVES FOR FUTHER STUDIES." Вестник Пермского университета. История, no. 2 (2022): 55–71. http://dx.doi.org/10.17072/2219-3111-2022-2-55-71.
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The article examines writings on the history of art, in which artworks by Soviet artists are described not as a local phenomenon but in a global cultural context. These writings are combined into four blocks. The first block – “Socialist Internationalism” – explores papers by Soviet art historians written in the 1950s and 1960s and developed a conception of world “progressive art.” The second block – “Soviet Non-official art and Western art critic” – starts with analyzing the texts created in the 1970s – 1990s by European, American, and Soviet – émigré authors and ends with the writings by Russian curators of the 2000s. All the articles from this block represent a common idea of the universality of Western modernist and postmodern art theory. Thus, these authors selected only those artworks which could be described within this theory. In the context of contemporary European and American art trends, Soviet non-official art looks like a peripheral phenomenon. The third block – “Cold War and Global History of Art” – investigates the texts and exhibitions made during the last two decades and influenced by the ideas of global turn and critical research of the Cold War cultural policy. It is shown how art historians seek to develop new approaches and universal criteria to describe the 20th century world art. The last block – “Critical geography” – talks about the theoretical approach elaborated by Piotr Piotrowski. Within the framework of critical geography, the phenomena that have long been considered marginal come to the fore. Attention is paid to the international contacts of artists. The boundaries of art centers are shown to be different from the borders of states. Thus, the art of the Soviet artists is represented as part of the new geographic conglomerations.
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Егоренко, Ольга, and Olga Egorenko. "Irakli Andronicus: the greatest art of improvisation." Service & Tourism: Current Challenges 8, no. 4 (November 27, 2014): 5–9. http://dx.doi.org/10.12737/6570.
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The main directions of creativity of famous Soviet writer, literary critic, broadcaster Irakli Luarsabovich Andronicus are considered in the article. The art of the story master, Irakli Andronicus made an invaluable contribution to the Soviet culture.
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Bezzubova, O. V., P. A. Dvoinikova, and A. V. Smirnov. "School in the Soviet Painting of the 1950s: Pictorial Representation of Ideological Strategie." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 158–69. http://dx.doi.org/10.24833/2541-8831-2020-4-16-158-169.
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The main issue the paper concerns is the theoretical and cultural interpretation of the 1940- 1950s social realist art depicting the Soviet school. The study advocates for a closer attention of cultural studies to the intertwining phenomena of Soviet mundanity and politically-charged painting. Hypothetically, the interconnection could be attributed to the transformation of the Soviet culture as a whole, with the pedagogical model of Soviet school as one key institutional elements. As Soviet art represented the state political project, each topic and body served some ideological needs. Thus, the paper aims at clarifying the cultural functions school art played. The analysis is dedicated to the post-WW2 canvases, to the period of the late 1940s‒1950s in particular due to the basic shifts in socialist realist painting both in terms of form and essence, which paralleled social and political transformations. The visual studies’ approach to artistic objects adopted by the authors serves as methodological contribution to cultural studies closely connected to political history, as it highlights the ideological sources of Soviet school painting and implicit pedagogical strategies designed to implement the Soviet social policy. The article provides the examples of the most significant paintings concerning the issue. The study has revealed that the era of school art combined a significant feature of early Soviet art – monumental pathos (however, deprived of motifs connected with the Great patriotic war and the 1917 revolution) – with micro-level mundane topics, mostly labour episodes. What is particular about school as such a topic is the role this institution played in the Soviet anthropologic project. As early stages of education are proved to be the most efficient in accelerating a new type of a socialist person, a future Soviet worker, the school realm was the base of value and practices indoctrination. The state policy translated the societal needs and purposes into the art. Having examined the key ideological concepts of the Soviet culture being inherent in Soviet school painting, certain functions were discovered. School is firstly depicted just as a background of state apotheosis. Secondly, it is perceived as a sacral locus where one becomes a Soviet person is both rituals and practices. Thirdly, school art is used to explain the novel principles of constructing a new person – personal approaches combined with growing group responsibility. And, finally, all that contributes to depicting the character traits which pupils was supposed to develop at school.
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Bezzubova, O. V., P. A. Dvoinikova, and A. V. Smirnov. "School in the Soviet Painting of the 1950s: Pictorial Representation of Ideological Strategie." Concept: philosophy, religion, culture 4, no. 4 (December 29, 2020): 158–69. http://dx.doi.org/10.24833/2541-8831-2020-4-16-158-169.
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The main issue the paper concerns is the theoretical and cultural interpretation of the 1940- 1950s social realist art depicting the Soviet school. The study advocates for a closer attention of cultural studies to the intertwining phenomena of Soviet mundanity and politically-charged painting. Hypothetically, the interconnection could be attributed to the transformation of the Soviet culture as a whole, with the pedagogical model of Soviet school as one key institutional elements. As Soviet art represented the state political project, each topic and body served some ideological needs. Thus, the paper aims at clarifying the cultural functions school art played. The analysis is dedicated to the post-WW2 canvases, to the period of the late 1940s‒1950s in particular due to the basic shifts in socialist realist painting both in terms of form and essence, which paralleled social and political transformations. The visual studies’ approach to artistic objects adopted by the authors serves as methodological contribution to cultural studies closely connected to political history, as it highlights the ideological sources of Soviet school painting and implicit pedagogical strategies designed to implement the Soviet social policy. The article provides the examples of the most significant paintings concerning the issue. The study has revealed that the era of school art combined a significant feature of early Soviet art – monumental pathos (however, deprived of motifs connected with the Great patriotic war and the 1917 revolution) – with micro-level mundane topics, mostly labour episodes. What is particular about school as such a topic is the role this institution played in the Soviet anthropologic project. As early stages of education are proved to be the most efficient in accelerating a new type of a socialist person, a future Soviet worker, the school realm was the base of value and practices indoctrination. The state policy translated the societal needs and purposes into the art. Having examined the key ideological concepts of the Soviet culture being inherent in Soviet school painting, certain functions were discovered. School is firstly depicted just as a background of state apotheosis. Secondly, it is perceived as a sacral locus where one becomes a Soviet person is both rituals and practices. Thirdly, school art is used to explain the novel principles of constructing a new person – personal approaches combined with growing group responsibility. And, finally, all that contributes to depicting the character traits which pupils was supposed to develop at school.
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Grigoryan, Arman, and Nazareth Karoyan. "What is Hamasteghtsakan Art." ARTMargins 8, no. 3 (October 2019): 122–33. http://dx.doi.org/10.1162/artm_a_00247.
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The document presents two separate articles with the same title –“What is Hamasteghtsakan Art” – by artist Arman Grigoryan and art critic Nazareth Karoyan, published in Armenia in 1994 and 1996 respectively. Translated from Armenian and introduced by Angela Harutyunyan both articles have been formative for the development of contemporary art in Armenia. While presenting diverging views on the meaning of hamasteghtsakan (translated as collectively created), the concept was circulated as a definition for a broad range of post-medium artistic practices in late Soviet and post-Soviet Armenia. These practices formed an oppositional discourse to both Socialist Realism and Armenian National modernism. Harutyunyan's introduction locates the texts in a broader context of artistic institutional transformations in the late 1980s and early 1994 in Armenia.
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Yeremenko, Evgeniy D., and Zoya V. Proshkova. "Editor as a phenomenon of Soviet art culture." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 31–38. http://dx.doi.org/10.30725/2619-0303-2021-2-31-38.
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The article is devoted to understanding the image of the Soviet editor in Russian art (using examples of fiction and cinema). The author examines the personal qualities that contributed to the entry of a person into the profession («editorial character») and provides a chronological observation of the «editorial evolution» – in publishing and film production-throughout the Soviet period and the first years of Russia in the 1990s. An important aspect that has been updated since the early 1920s is the active inclusion of women in editorial work. The characteristics of editors of different Soviet periods are analyzed using examples from the prose of M. Bulgakov, V. Shishkov, L. Rakhmanov, A. Tobolyak, V. Astafyev. Portraits of Soviet film editors are considered in the works of J. Gausner, N. Bogoslovsky, V. Makanin, D. Rubina and M. Kuraev. Representatives of the editorial profession are also represented in the films of A. Tarkovsky, V. Zheregy, K. Shakhnazarov and A. Benckendorf. There are two main types in the artistic depiction of editors and their activities: satirical (in a pointed form ridiculing personal and professional shortcomings) and dramatic (reflecting the complexity of editorial characters in their inseparability with the influence of society, historical era). In the final part of the article, the vectors of professional diffusions in the film-editing corps are outlined with the end of the Soviet era and the need to adapt to the new, post-Soviet realities.
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Tagangaeva, Maria. "“Socialist in content, national in form:” the making of Soviet national art and the case of Buryatia." Nationalities Papers 45, no. 3 (May 2017): 393–409. http://dx.doi.org/10.1080/00905992.2016.1247794.
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This article examines the fine art of the Soviet national republics and its discourse in the Soviet Union, which were considerably shaped under the influence of socialist realism and Soviet nationality policy. While examining the central categories of Soviet artistic discourse such as the “national form,” “national distinctness,” and “tradition,” as well as cultural and scientific institutions responsible for the image of art of non-Russian nationalities, the author reveals the existence of a number of colonial features and discursive and institutional practices that foster a cultural divide between Russian and non-Russian culture and contribute to the marginalization of art. Special attention is paid to the implications of this discursive shaping for the local artistic scene in Buryatia.
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Chunikhin, Kirill. "At Home among Strangers: U.S. Artists, the Soviet Union, and the Myth of Rockwell Kent during the Cold War." Journal of Cold War Studies 21, no. 4 (October 2019): 175–207. http://dx.doi.org/10.1162/jcws_a_00910.
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After World War II, Soviet institutions organized many exhibitions of the American artist Rockwell Kent that bypassed the U.S. government. Promotion of Kent's work in the USSR was an exclusively Soviet enterprise. This article sheds new light on the Soviet approach to the representation of U.S. visual art during the Cold War. Drawing on U.S. and Russian archives, the article provides a comprehensive analysis of the political and aesthetic factors that resulted in Kent's immense popularity in the Soviet Union. Contextualizing the Soviet representation of Kent within relevant Cold War contexts, the article shows that his art occupied a specific symbolic position in Soviet culture. Soviet propaganda reconceptualized his biography and established the “Myth of Rockwell Kent”—a myth that helped to legitimate Soviet ideology and anti-American propaganda.
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Li, Yishuai. "Soviet engravings and the Chinese writer Lu Xun." Культура и искусство, no. 3 (March 2020): 38–50. http://dx.doi.org/10.7256/2454-0625.2020.3.32397.
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This article analyzes the relations between the Chinese writer Lu Xun and Soviet engravings. Lu Xun is attributed to one of the most prominent Chinese literary figures of the past century. His significant contribution to the development of culture also consists in the fact that in the 1930’s he collected, edited and published a substantial amount of Soviet engravings. This is why his is known in China as the “Founder of the collection of wood engravings”. The article represents an cross-disciplinary research in the field of art history, culturology and literature, particular in the area of history of Soviet art and Chinese literature. The research elucidates the key milestones of life path of Lu Xun, associated with the increase of cultural level of Chinese young students through familiarization of majority of the population with Soviet engraving. However, his relations with the Soviet art, and namely Soviet engraving, are insufficiently covered. The article talks about the forgotten achievements in the area of Soviet arts in China.
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Kozhanova, Mira. "Curating national renewal : the significance of arts and crafts in the construction of Soviet identity at the 1925 Exposition internationale des arts d�coratifs et industriels modernes in Paris." Art East Central, no. 3 (2023): 37–57. http://dx.doi.org/10.5817/aec2023-3-3.
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At the Exposition internationale des arts d�coratifs et industriels modernes in Paris in 1925, the newly recognised Soviet Union was given a platform to present its ideology through art. It constructed an official narrative of national renewal through a sophisticated exhibition concept that complemented contemporary art (particularly constructivism) with arts and crafts. This article sheds light on why the Soviet officials chose this specific approach and how their strategy was rooted in the earlier exhibition experience of the Russian Empire and the Soviet Union. Focusing on the two sections of arts and crafts presented in Paris � the Kustar goods of Soviet Russia and folk art from other Soviet Republics � the article examines their significance for the carefully constructed Soviet identity of the time. Furthermore, it analyses the contributions of individual organisers to these sections in light of their statements and writings, their professional positions and their prior experience. By illuminating the human factor behind the official narrative, the article exposes a parallel level of interpretation in order to further a more nuanced understanding of the Soviet contribution.
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IVANOV, Viacheslav. "THE 1939–44 SOVIET-FINNISH RELATIONS IN THE UKRAINIAN POST-SOVIET HISTORY WRITING." Nordic and Baltic Studies Review, no. 3 (December 2018): 208–27. http://dx.doi.org/10.15393/j103.art.2018.1072.
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Kim, Seorim, and Kyoo Yun Cho. "Satire and Propaganda of Soviet Posters: The Artistic Representation of Laughter and Disgust in Deni’s Works." Institute for Russian and Altaic Studies Chungbuk University 25 (August 31, 2022): 99–128. http://dx.doi.org/10.24958/rh.2022.25.99.
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First appeared for commercial purposes in the early 20th century, Russian posters developed into independent art through the First World War and the Bolshevik Revolution. The early 20th century was the most productive period for Russian Art, as various experiments were conducted in the coexistence and competition of various painting trends. Amid the turbulent conditions leading to the revolution, civil war, and establishment of the Soviet Union, the integration of various artists’ experiments with the revolution is reflected in the form and content of posters produced at the time. Viktor Deni, who is called the pioneer and classic of the Soviet poster, had a profound influence on later Soviet propaganda art and posters by embodying personal laughter, social humor and satire, and disgust based on his unique political insight and artistic imagination. Nevertheless, in Soviet poster exhibitions and related studies, Deni has been introduced as a fragment of the history of Soviet art and has not drawn much attention for the artistic value of his satirical posters because of their ideological aspect. Therefore, this study examines the meaning of the creative works of Deni, which were the basis of Soviet political posters during the formation and development of Russian posters in the revolutionary period, and clarifies the social function of his satire and the essence of propaganda art through the transformation of laughter revealed in his posters.
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Roth-Ey, Kristin. "Finding a Home for Television in the USSR, 1950-1970." Slavic Review 66, no. 2 (2007): 278–306. http://dx.doi.org/10.2307/20060221.
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In this article, Kristin Roth-Ey explores the complex and often convoluted reception of television technology in the USSR of the 1950s and 1960s. Television held out the potential to fulfill the long-standing dream of a universal Soviet culture—propaganda, art, and science delivered directly to every home—and it offered a compelling symbol of a modern Soviet “way of life” in a Cold War context as well. Soviet consumers and technological enthusiasts embraced the new medium with gusto and played an important role in its promotion. As Roth-Ey elucidates, however, the nature of television production and consumption—and, in particular, the Soviets’ decision to promote a home-based broadcasting system—put television in implicit conflict with important Soviet traditions, ideals, and, at times, interest groups. The development of the mature form of centralized Soviet television symbolized by Moscow's Ostankino complex is the story of how political and cultural elites, consumers, and the Soviet system in an abstract sense struggled to make a “home” for television technology in the USSR.
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Purlyte, Gabija. "Representations of the Soviet Period and Its Traces in the Works of Contemporary Artists from the Baltic States." History of Communism in Europe 10 (2019): 145–67. http://dx.doi.org/10.5840/hce2019107.
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This paper examines how Soviet and post‑Soviet history is presented and reflected upon in select works of contemporary artists from Estonia, Latvia and Lithuania. As the contemporary art scenes of these newly independent states developed and joined the global contemporary art circuit, a number of Baltic artists have participated in the recent “historiographic turn” in art. Through the analysis of examples, we look at four approaches employed by these artists when tackling the subject of history seen through personal narratives; history told from the point of view of ethnic/linguistic minorities; a focus on women’s experiences; and a debate on the preservation, removal, and building of commemorative monuments. This paper aims to show how these artists integrate reflections of the Soviet and post‑Soviet experience into the building of complex, inclusive, positive post‑Soviet identities.
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Nicholas, Mary A. "Metaphor and the Material Object in Moscow Conceptualism." Arts 11, no. 5 (September 19, 2022): 88. http://dx.doi.org/10.3390/arts11050088.
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Discussions of conceptual art both East and West have focused on the notion of “dematerialization” of the artwork and the substitution of “art as idea” for concrete works of art. Yet such an approach oversimplifies the role of materiality in works of conceptual art generally and underestimates the transformative role of the concrete object in early Moscow conceptualism in particular. An examination of the Nest, an influential group of artists active from 1974 to 1979, as well as other analytical conceptualists who highlighted materiality in their unofficial art practice suggests that their use of concrete objects and realized metaphors revolutionized late-Soviet unofficial art, moving it from an outdated modernist model of artistic autonomy to a more dynamic and engaged postmodernism. Their previously underappreciated contribution to the evolution of global conceptualism expands our picture of the movement as a whole and provides needed context for late-Soviet art and the post-Soviet period that followed.
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Lavins, Imants. "Decorative Art of the Latvian SSR, Searching the Way Between Party-Mindedness and National-Mindedness." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 204–10. http://dx.doi.org/10.62119/cils.16.2023.7546.
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The basic principle of socialist realism was the belief in the political ideals proposed by the ruling Communist party (party-mindedness) of the Soviet Union, enriched by national-mindedness and ideinost (ideological-content). Already since the early 1930s, in the Soviet Union every single cultural worker in every single discipline of art had to strictly follow the method of socialist realism. The canon of socialist realism was equally applicable to fine art as well as applied art, the specific function of which was supposed to be purely utilitarian use. Decorative art in the national republics of the Soviet Union usually took the forms of folk art, and decorative art since the beginning of the 1960s was perceived as an integral component of Soviet culture. The essence of Soviet culture had already been formulated several decades earlier, and it had to be socialist in content and national in form, emphasizing the importance of national traditions.
It was possible to treat this principle in various, even very disparate ways, so the problem of adherence to the party principles and the manifestastion of national distinctiveness was an inexhaustible topic of theoretical and practical discussions. Conceptual ambiguity, as well as very different visions among artists, theoreticians, as well as party officials, did not allow to develop a unified theory of applied art. Due to the afore mentioned ambiguity and the pluralism of opinions artists of applied art could enjoy some space of freedom for creativity, without directly violating the canons of socialist realism.
The author of the paper examines and analyzes the development of professional decorative art in the Latvian SSR of that time, ideological currents in art theory, and center–periphery relationship.
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Perenizhko, Oksana A. "Representation of the USSR at the XVI Venice Biennale of 1928: Toward a History of Soviet-Italian Cultural Ties." Общество: философия, история, культура, no. 8 (August 23, 2023): 152–56. http://dx.doi.org/10.24158/fik.2023.8.22.
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The article analyzes the participation of the Soviet delegation in the XVI International Art Exhibition in Venice in 1928. The successful presentation of Soviet art at the XIV Biennale in 1924 noticeably strengthened the USSR’s position in the development of cultural ties with Italy and contributed to the formation of an attractive image of the Soviet man among ordinary Italians. In 1926, the difficult economic situation did not allow the Soviet dele-gation to participate, but two years later, as part of the XVI Biennale in the Russian Pavilion in Venice, the public could once again see the work of Soviet masters. With the success of the 1928 Biennale, Soviet art’s position as a relay of the new state idea was consolidated and a massive response was generated. The official Italian press, despite many negative reviews, noted the timeliness and fullness of Soviet culture, and the system of state order made the strongest impression. The article is based on a large number of documents from the State Archive of the Russian Federation, the Russian Archive of Literature and Art, periodicals and memoirs of the events’ participants.
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Hilton, Alison. "Humanizing Utopia: Paradoxes of Soviet Folk Art." Kritika: Explorations in Russian and Eurasian History 3, no. 3 (2002): 459–71. http://dx.doi.org/10.1353/kri.2002.0037.
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DOY, G. "Soviet Art in the Twenties and Thirties." Journal of Design History 2, no. 4 (January 1, 1989): 311–13. http://dx.doi.org/10.1093/jdh/2.4.311.
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Tlostanova, Madina. "Decolonial AestheSis and the Post-Soviet Art." Afterall: A Journal of Art, Context and Enquiry 48 (September 2019): 100–107. http://dx.doi.org/10.1086/706131.
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Mysovskikh, Lev. "Conformism of the Soviet Artist as a Way of Existence in Art, or the Generation and Resurrection of Juliet by Soviet Conformism." Ideas and Ideals 14, no. 1-2 (March 25, 2022): 376–91. http://dx.doi.org/10.17212/2075-0862-2022-14.1.2-376-391.
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The article examines the influence of the phenomenon of conformism on the formation of an artistic image in the Soviet classical choreographic art on the example of the creative path of the outstanding Soviet ballerina Galina Ulanova. The author analyses the phenomenon of conformism in the Soviet artistic sphere and considers the conditions of its origin and development. Using the dialectical method of research, the author makes an attempt to analyze the phenomenon of conformity from a neutral position and determine its role in creating an artistic image. The biographical method of research makes it possible to establish the contribution of a particular conformist artist to the formation of a single art form – Soviet classical choreographic art. The author comes to the conclusion that artists in the course of their creative activity can consciously adhere to the form of conformal behavior as a certain strategy to achieve their creative goals, which can contribute to the creation of masterpieces and the development of art.
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Petrova, Inna, and Olga Khromova. "Monumental art as a means of constructing historical memory in Soviet Ukraine." Skhid 3, no. 1 (April 1, 2022): 47–52. http://dx.doi.org/10.21847/1728-9343.2022.3(1).271713.
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The article is devoted to the study of the construction of historical memory in the Ukrainian SSR by means of monumental art. The relevance of this problem in the context of Russia's hybrid war against Ukraine is emphasized, in which the existence of the Soviet model of historical memory in society has long been the subject of manipulation and serves the purpose of justifying aggression against our state. Since the narratives of historical memory require external manifestation in works of art and the creation of appropriate places of memory, the latter often become important components of state propaganda for the creation of a single concept of collective memory. Therefore, the main task of the study was to show the role of monumental art in the context of memory politics in Ukraine during the Soviet era and the mechanisms of its transformation into a means of Soviet propaganda. In the research process, the methods of content analysis of archival documents and art analysis of monuments of Ukrainian monumental art of the second half of the 20th century were used. As a result, it is proven that in Soviet Ukraine, monumental art turned into an important element of state propaganda, which aimed to create such a concept of collective memory, which would be included in the general structure of communist ideology and justify the existing socio-political system. Most of the works of monumental art were aimed at building a certain cult, primarily the cult of work and the cult of achievements of the Soviet government, the cult of the "primacy" of Soviet people in certain spheres. Around the greatness of past victories, which were the foundation of the image of historical memory, it was easier to unite a large number of people and form a new Soviet identity. Directing the creative energy of Ukrainian artists to the service of Soviet ideology became possible thanks to the establishment of totalitarian control over Ukrainian artists by state institutions, which often completely destroyed the original authorial concept of the works, but turned them into an effective means of forming a distorted construct of a collective perception of the past.
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Kaplan, Isabelle R. "Comrades in Arts: The Soviet Dekada of National Art and the Friendship of Peoples." RUDN Journal of Russian History 19, no. 1 (December 15, 2020): 78–94. http://dx.doi.org/10.22363/2312-8674-2020-19-1-78-94.
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This article examines the dekady of national art, a series of Soviet festivals fi rst staged in the mid-1930s to highlight the cultures and artistic accomplishments of the various non-Russian republics of the USSR. The institution of the dekada, I contend, made considerable contributions to Soviet nationbuilding eff orts and the construction of multiethnic culture. The article unfolds in three sections. The fi rst relies on archival documents to trace the origins and evolution of the dekada of national art in the context of its bureaucratic home, the All-Union Committee on Arts Aff airs. The second draws largely on periodical sources to consider the ways in which the larger currents of Stalin-era culture are refl ected in the dekady of national art and, in particular in the national operas that served as the centerpieces of the dekady. The fi nal section turns to the Friendship of Peoples campaign, identifying one aspect of it - that Soviet citizens appreciate not only their own national art but the art of other Soviet nations - as central to the dekady. Analyzing the public rhetoric surrounding the dekady, I identify several themes that emerge and their implications for forging a common pan-Soviet culture. I conclude that it is not only national cultural production, but the consumption of national cultural products by a multiethnic audience that is central to nation-building on multiple levels as well as a means to unite the ethnically diverse Soviet people, and that the dekada festivals aimed to bring the Soviet nations closer together by providing them an opportunity to consume one another’s cultural products.
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Beskrovnaya, Tat’yana V., and Marina V. Shakurova. "Transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture (1917-1991)." Vestnik of Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics 29, no. 2 (September 29, 2023): 18–25. http://dx.doi.org/10.34216/2073-1426-2023-29-2-18-25.
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The article actualizes development concepts of the family image as a subject of upbringing in Soviet oral and pictorial culture. The purpose of this article is to trace the transformation of Soviet family image in specific historical conditions and to present the correlation between the domination of the maternal or paternal image and the educational effect of family in general - via analysis of works of Soviet art in 1917-1991. Research design: The author uses to trace transformation of the family image as a subject of upbringing in Soviet oral and pictorial culture such methods as literature analysis, synthesis, association method, comparative historical analysis. The conclusion dwells upon the idealization and even hypertrophy of the family image presented in Soviet oral and pictorial culture - which is premised on the necessity of the family image to be aligned with main ideological guidelines consistent for the particular history period. Nevertheless, the main distinctive feature of Soviet family is its educational impact, traditionalism, stability, aspiration for bright new future. Distinctness of the image of Soviet family, existing in the realm of ideological principles, is defined in Soviet oral and pictorial culture. Art, while forming in Soviet mass consciousness the family image specified by ideology, could come through the strict censorship and reveal the real family life. It is art that makes it possible to see and appraise in objective way the educational role of Soviet family in communist society.
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Wang, Shujing. "Traditions of the Soviet Academy of Art History in the theses of the Chinese students of I. E. Repin Institute of Painting, Sculpture and Architecture at the turn of the 1950s – 1960s (based on the archival materials)." Культура и искусство, no. 4 (April 2021): 82–93. http://dx.doi.org/10.7256/2454-0625.2021.4.35248.
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This article is dedicated to the relevant problem of art history, and determines the degree of impact of the traditions of the Soviet Academy of Art History upon the art education of the People's Republic of China. The fundamental role in this process is assigned to the Chinese students who studied in I. E. Repin Leningrad State Institute of Painting, Sculpture and Architecture of the USSR Academy of Arts during the 1950s – 1960s, as well as their pedagogues and academic advisors. The article analyzes the stenographic materials of state attestation of the four Chinese students of the faculty of Theory and History of Art, who defended their theses in 1959 and 1960. The novelty of this research lies in the fact that the the materials of the Scientific Archive of the Russian Academy of Arts that were not previously used in scientific discourse, namely work with the stenographic materials of state attestation of the selected students, reveal certain peculiarities of art history and art education of the People's Republic of China, description of the tradition of the Soviet Academy of Art History and its impact upon the Chinese education at the turn of the 1950s – 1960s. The Chinese graduates of I. E. Repin Leningrad State Institute of Painting, Sculpture and Architecture have later continued the traditions of the Soviet Academy of Art History, and laid the foundation for education of the future generations of specialists in the field of art. The conducted research determines several relevant trends of the Soviet School that influenced the development of Chinese art history.
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Usuvaliev, Sultan I. "Methodological aspects of studying the history of Soviet cinema in the 1930s." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 17–28. http://dx.doi.org/10.17816/vgik11317-28.
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The article is devoted to the history of the Russian film studies and methodology of film history as science using the example of the Introduction of History of the Soviet Film Art by Nikolai Iezuitov (18991941), one of the founders of the national film studies. Since the manuscript of History of the Soviet Film Art the first history of the Soviet cinema has not yet been published and introduced into scholarly use, the author pays special attention to archival sources.
Despite a number of essays and discussions about film history and its methodology, a fundamental scholarly work on the historiography of the history of Soviet and Russian cinema has not yet been written. The relevance and novelty of the article is that it is based on the study of archival manuscripts of Nikolai Iezuitov. The exploration of early approaches to the study of the history of the Soviet cinema is important both historically and pedagogically.
One of the most important sources of the concept of film history at an early stage of the national film studies is Iezuitov's Introduction to History of the Soviet Film Art. The Introduction is valuable because: 1) it is a rare evidence of reflection on the foundations of film history as scholarship and its methodology; 2) it is given by the author of the first history of the Soviet cinema; 3) it is represented by the author not as a separate abstract essay but as a part of the history itself.
The Introduction defines the scholarly tasks and content of film history; overviews foreign books on the history of cinema; emphasizes specific periods of Soviet film history; and indicates the principles of work with relevant sources.
Iezuitovs main principles in relation to film history are established in connection, firstly, with Soviet history scholarship; and secondly, with the vision of film history as the history of film art. Thus, film history, according to Iezuitov, is the unity of Marxist understanding of history and art-historical (stylistic) analysis of films and the main film movements in Soviet cinema.
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Aksenova, N. V., N. V. Denisova, and N. O. Magnes. "COUNTERFACTUAL SOVIET PHOTOGRAPHY THROUGH THE LENS OF AMERICAN AND BRITISH ART CRITICS: EVALUATIVE DIMENSIONS OF ART DISCOURSE." Voprosy Kognitivnoy Lingvistiki, no. 1 (2023): 40–51. http://dx.doi.org/10.20916/1812-3228-2022-1-40-51.
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The paper studies the axiological interpretation of Soviet photographs in British and American art reviews by examining the basic concepts STATE, ARTIST, and WORK OF ART. The analysis draws on the methods of cognitive discourse analysis, narratology, pragmatics, and semantics. Accepting R. Barthes’ view of the photograph as “a message without a code”, we hold that the main goal of art discourse is to construct an intermediary code to facilitate communication between the Operator and the Spectator, especially in the presence of a time/culture gap between the two. Through aesthetic distancing, art reviewers shift the axiological focus from the ethical implications of Soviet photographs towards their aesthetic value, encouraging a transcultural and transtemporal dialogue between the reader/viewer and the photographer. The analysis has enabled us to expand the framework of photographic roles (Operator, Spectrum and Spectator) suggested by Barthes and later complemented with the role of the Demonstrator, which is central to this study. The role of the Emptor, added here to the Barthian set of core roles, emerges as the ultimate role of the Soviet state vis-à-vis photography.
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Kulikova, Daria. "Centenary of F. M. Dostoevsky's Birth in the Soviet Russian Press." Неизвестный Достоевский 8, no. 3 (September 2021): 156–82. http://dx.doi.org/10.15393/j10.art.2021.5521.
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This article considers the attitude towards F. M. Dostoevsky in Soviet Russia during the celebration of his centenary based on materials published in the periodical press. Articles from newspapers and magazines of that era (Trud, Petrogradskaya Pravda, Izvestiya Petrogradskogo sovetа rabochikh i krasnoarmeyskikh deputatov, Narodnoe prosveshcheni, Krasnyy voin, Krasnyy komandir, Krasnaya Nov’, Pechat’ i revolyutsiya, Zhizn’ iskusstva, Sarrabis, Vestnik literatury, Artel’noe delo, Nachala, etc.) were used. Many of these texts have not been previously analyzed by scholars of Dostoevsky’s work. Numerous attempts were made in the Soviet press to interpret the work and ideas of F. M. Dostoevsky in the spirit of socialism. The writer’s negative view of revolutionary ideology was either rejected or distorted by Socialists, however, they were attracted by the image of a former convict and a defender of the “humiliated and insulted”. Certain magazines (Artel’noe delo, Nachala) that appeared in Petrograd during the NEP period, published religious and philosophical articles about F. M. Dostoevsky. The ambivalence of the attitude towards the writer, the presence of socialist and Christian interpretations of his work in the press were a sign of a transitional historical period.
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Martin, Grace Kathryn. "Soviet Leap." Undergraduate Research Journal for the Humanities 1, no. 1 (September 1, 2016): 2–16. http://dx.doi.org/10.17161/1808.21355.
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Throughout the Cold War, Soviet ballet dancers defected to America in hopes of finding artistic freedom. After their defections they played a critical role in shaping what can be considered today’s American ballet. By exploring how foreign dancers were able to contribute so much to an American cultural establishment, one can start to understand the distinct differences between the cultures behind capitalist America and the communist Soviet Union during the 1900s. Three specific dancers, George Balanchine, Natalia Makarova, and Mikael Baryshnikov made significant contributions to American ballet. When put together, their contributions form the core of the American art form seen on stages across the nation and abroad today.
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Wu, Guanwen. "Mutual Influence of Woodcut Art of China and the USSR." Философия и культура, no. 9 (September 2022): 99–107. http://dx.doi.org/10.7256/2454-0757.2022.9.38851.
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The article discusses the features of interaction and mutual influence of the art of woodcut of China and the USSR. Chinese woodcut and Soviet engraving reveal the greatest mutual influence and rich genre palette in the middle of the XX century. Chinese woodcut gave a creative impulse, enriched the visual possibilities, brought new ideas to the Soviet art of woodcut. It served as an impetus for the rise of graphics, which realized and asserted its specificity. In this regard, it seems relevant to identify common features of Chinese woodcut and Soviet engraving of the mid-20th century, as well as to identify differences in the development of this art form in the two countries. The article analyzes the works of famous woodcuts of two countries: Chen Yanqiao, Yang Han, Qi Baishi, V. A. Favorsky, A. A. Ushin. As a result of the analysis, the common features of Chinese woodcut and Soviet engraving of the mid-20th century were revealed, for example, similar plots and themes, as well as a special dynamic, lively and pulsating rhythm of the works. In addition, differences in the development of this type of art in both countries have been established, largely due to the preservation of their own national style by graphic artists. It is claimed that Soviet graphics contributed to the variety of Chinese woodcuts. In turn, Soviet artists adopted the subtleties of filigree technique from Chinese woodcuts.