What is a battle scene. Historical battle painting

BATTLE GENRE (from the Italian battaglia - battle), depiction of battle, war, military life in art. The battle genre, when recreating military episodes of past or mythological events, merges with the historical genre and with the mythological genre; sometimes comes close to the everyday genre and portrait (the image of a commander against the background of a battle), often contains elements of landscape (including marinas), animalistic genre (cavalry, war elephants, etc.) and still life (armor, trophies, etc.).

The earliest depictions of battles are in Neolithic rock paintings. The wars of the Ancient East are depicted in numerous reliefs and paintings. In ancient Egyptian temples and tombs, the pharaoh-commander, sieges of cities, processions of prisoners, and so on were depicted. Similar subjects are also cultivated in the art of Mesopotamia (“Battle on camels”, a relief from the palace of Ashurbanipal in Nineveh, the middle of the 7th century BC, British museum, London). IN ancient Greek art the military prowess of mythological characters (Amazonomachy, Centauromachy, Titanomachy), heroes and real commanders is sung (see the descriptions of battle paintings by Pliny the Elder; “The Battle of Alexander with Darius”, a Roman mosaic copy of the 2nd century BC from a Hellenistic sample of the 4th-3rd centuries BC era, National Museum, Naples). A specific kind of battle genre in art ancient rome- battle reliefs of triumphal arches and columns (arch of Titus, 81 AD; Trajan's column, early 2nd century; both - in Rome).

In medieval art, the battle genre is represented in European book miniatures and carpet weaving (the so-called Bayeux Carpet with scenes from the Battle of Hastings, circa 1080), sculpture of funerary structures in China, Japanese graphics, Indian painting, Iranian miniature. In the painting of the Italian Renaissance, the battle genre has been developing since the middle of the 15th century in the work of P. Uccello and Piero della Francesca. Masters High Renaissance in the battle genre they create ideal heroic images (unpreserved cardboards “The Battle of Kashin” by Michelangelo and “The Battle of Anghiari” by Leonardo da Vinci, 1500s), including generals against the background of the battle (“Charles V in the Battle of Mulberg” by Titian, 1548, Prado, Madrid); Tintoretto in the battle genre was attracted by the opportunity to depict large masses of people (“The Battle of Dawn”, about 1585, Doge's Palace, Venice). The battle genre received a peculiar sound in the art of the Northern Renaissance: in the painting by A. Altdorfer “The Battle of Alexander the Great with Darius” (1529, Alte Pinakothek, Munich), the battle is shown against the backdrop of a cosmic landscape; P. Brueghel the Elder used the battle genre to allegorically display the Spanish terror in the painting "The Triumph of Death" (1562-63, Prado).

In the 17-18 centuries, within the framework of the battle genre, biblical and mythological subjects(“Battle of the Israelites with the Amalekites” by N. Poussin, circa 1625, the Hermitage, St. Petersburg, etc.). The battle plot is revealed as historical event in the painting of D. Velasquez (“Surrender of Breda”, 1634-35) and F. Zurbaran (“Liberation of Cadiz”, 1634; both - in the Prado). P. P. Rubens creates a number of dynamic works of the battle genre (“The Battle of the Greeks with the Amazons”, about 1618, the Alte Pinakothek, Munich; the allegorical painting “The Consequences of the War”, about 1637-38, the Pitti Gallery, Florence), under the influence of which a type of battle painting is emerging in baroque art (S. Rosa in Italy, F. Wauermann in Holland, J. Bourguignon in France). The scenes of military life by the Flemish painters (D. Teniers the Younger), with all the reliability of the details, also contain allegories (soldiers playing cards or dice - an allegory of the vicissitudes of fate). The battle genre received a sharp tragic sound in the etchings by J. Callot (two series of The Disasters of War, 1632-33).

The Napoleonic Wars nourished the battle genre of the first half of the 19th century: pathetic paintings by A. Gro and J. L. David dedicated to Napoleon; romantic images of T. Gericault, O. Vernet, Pole P. Michalovsky, German artists P. Hess, A. Adam and F. Kruger. The heroic resistance of the Spaniards to the French intervention was reflected in the work of F. Goya (a series of etchings "The Disasters of War", 1810-20). One of the main masters of French romanticism, E. Delacroix, created a number of battle paintings on subjects of history and modernity (“Liberty Leading the People”, 1830, Louvre, Paris), in late romantic painting, the battle genre approaches historicism (J. Mateiko). The development of realism in the second half of the 19th and early 20th centuries led to the strengthening of genre motifs in the battle genre (A. von Menzel in Germany, F. von Defregger in Austria, J. Fattori in Italy, W. Homer in the USA). The Franco-Prussian war of 1870-71 received a realistic display in the paintings of E. Detai and A. Neuville; events of Mexican history - in the work of E. Manet. The battle genre also flourished in salon art (paintings by P. Delaroche, H. Makart, E. Meissonier).

In the late 19th and early 20th centuries, the theme of war received a mystical and symbolic interpretation (F. von Stuck, M. Klinger, A. Kubin, O. Dix). Essentially anti-war works by P. Picasso (Guernica, 1937, Reina Sofia Art Center, Madrid) and S. Dali (Premonition of Civil War, 1936, Museum of Art, Philadelphia) are associated with the battle genre. battle genre in Nazi Germany was focused on the style of late romanticism, cultivated pathos heroics. The battle genre of the 2nd half of the 20th century was dominated by historical and anti-war themes.

In the art of Russia, the battle genre appears in medieval book miniatures and icon painting. In the 18th century, Western European battle-players were brought to Russia to glorify the victories of Peter I (“The Battle of Poltava” by L. Caravak, the Hermitage, etc.). Masters of engraving (A.F. Zubov) and mosaic (M.V. Lomonosov) worked in the battle genre. With the founding of the St. Petersburg Academy of Arts, the battle genre is taught in two classes - battle and history. Historical painters create portraits of military leaders (G. I. Ugryumov), depict the exploits of heroes (A. I. Ivanov). A. I. Sauerweid, B. P. Villevalde, A. E. Kotzebue gravitate towards documentary accuracy; allegorical depiction of the Patriotic War of 1812 - in the reliefs of F. P. Tolstoy. A romantic version of the historical battle genre was created by K. P. Bryullov (the unfinished painting “The Siege of Pskov”, 1839-43, State Tretyakov Gallery), sea battles were created by I. K. Aivazovsky and A. P. Bogolyubov. Outside the academic tradition - the work of M. N. Vorobyov, the "Cossack scenes" of A. O. Orlovsky, the works of G. G. Gagarin and M. Yu. Lermontov on the themes of the Caucasian war. The everyday element was introduced into the battle genre by P. O. Kovalevsky, historical themes were interpreted in a realistic spirit by V. I. Surikov, I. M. Pryanishnikov, A. D. Kivshenko. An important role in the development of the battle genre in Russian art was played by the accusatory works of V. V. Vereshchagin. The emergence of panoramas and dioramas is associated with the battle genre: the works of F. A. Roubaud (“Defense of Sevastopol”, 1902-04, Sevastopol; “Borodino”, 1911, Moscow) served as a model for a number of later works of such kind.

In the Soviet period, the battle genre was embodied in the graphics of the period of the Civil War of 1918-1922 (ROSTA Windows), the works of members of the Association of Artists of Revolutionary Russia and the Society of Easel Painters. Of particular importance for the development of the Soviet battle genre is the work of M. B. Grekov (“Trumpeters of the First Cavalry”, 1934, State Tretyakov Gallery). The Great Patriotic War became the main theme of the battle genre in the 1940s and the second half of the 20th century. The most significant contribution was made by the masters of the M. B. Grekov Studio of Military Artists; a series of front-line sketches and graphic cycles were created by N. I. Dormidontov, A. F. Pakhomov, L. V. Soyfertis. The works of the Kukryniksy, A. A. Deineka, G. G. Nissky, Ya. D. Romas, F. S. Bogorodsky, V. N. Yakovlev and others are devoted to the events of the war. battle topics: the Battle of Kulikovo (M. I. Avilov, A. P. Bubnov, I. S. Glazunov, S. N. Prisekin), Patriotic War 1812 (N. P. Ulyanov).

The battle genre is associated with monuments to heroes and commanders, military memorials, and the like - works of architecture and sculpture containing military paraphernalia (see Fittings), decorated with reliefs with scenes of battles and victories.

Lit .: Tugendhold J. The problem of war in world art. M., 1916; Sadoven V.V. Russian battle painters of the 18th-19th centuries M., 1955; Hodgson R. The war illustrators. L., 1977; Zaitsev E.V. Artistic chronicle of the Great Patriotic War. M., 1986; Peace and war through the eyes of artists. (Cat. Exhibition). B. m., 1988; Hale J.R. Artists and warfare in the Renaissance. New Haven, 1990.

Battle genre, fine art genre

Battle genre(from French bataille - battle), a genre of fine art, dedicated to themes war and military life. The main place in the battle genre is occupied by scenes of battles (including naval ones) and military campaigns of the present or the past. The desire to capture a particularly important or characteristic moment of the battle, and often reveal the historical meaning of military events, brings the battle genre closer to the historical genre. The scenes of the daily life of the army and navy, found in the works of the battle genre, have something in common with the genre of everyday life. Progressive trend in the development of the battle genre of the XIX-XX centuries. connected with the realistic disclosure of the social nature of wars and the role of the people in them, with the exposure of unjust aggressive wars, the glorification of national heroism in revolutionary and liberation wars, and the education of civil patriotic feelings among the people. In the 20th century, in the era of devastating world wars, the battle genre, historical and everyday genres are closely connected with works that reflect the cruelty of imperialist wars, the incalculable suffering of peoples, their readiness to fight for freedom.

Images of battles and campaigns have been known in art since ancient times (reliefs of the Ancient East, ancient Greek vase painting, reliefs on the pediments and friezes of temples, on ancient Roman triumphal arches and columns). In the Middle Ages, battles were depicted in European and Oriental book miniatures ("Face Chronicle", Moscow, 16th century), sometimes on icons; images on fabrics are also known ("Carpet from Bayeux" with scenes of the conquest of England by the Norman feudal lords, about 1073-83); there are numerous battle scenes in the reliefs of China and Kampuchea, Indian paintings, and Japanese painting. In the XV-XVI centuries, during the Renaissance in Italy, images of battles were created by Paolo Uccello, Piero della Francesca. Heroic generalization and great ideological content battle scenes were received in cardboard for frescoes by Leonardo da Vinci ("Battle of Anghiari", 1503-06), who showed the fierce fierceness of the battle, and Michelangelo ("Battle of Kashin", 1504-06), who emphasized the heroic readiness of warriors to fight. Titian (the so-called "Battle of Cadore", 1537-38) introduced a real environment into the battle scene, and Tintoretto - innumerable masses of warriors ("Battle of Dawn", about 1585). In the formation of the battle genre in the 17th century. big role they played a sharp exposure of the robbery and cruelty of soldiers in the etchings of the Frenchman J. Callot, a deep disclosure of the socio-historical significance and ethical meaning of military events by the Spaniard D. Velasquez ("Surrender of Breda", 1634), the dynamics and drama of the battle paintings by the Fleming P. P. Rubens. Later, professional battle painters stand out (A.F. van der Meulen in France), types of conditionally allegorical composition are formed, exalting the commander, presented against the background of the battle (Ch. Lebrun in France), a small battle picture with a spectacular image of cavalry skirmishes, episodes of military life (F. Wauerman in Holland) and scenes of naval battles (V. van de Velde in Holland). In the XVIII century. in connection with the war for independence, works of the battle genre appeared in American painting(B. West, J. S. Copley, J. Trumbull), the Russian patriotic battle genre was born - the paintings "Battle of Kulikovo" and "The Battle of Poltava", attributed to I. N. Nikitin, engravings by A. F. Zubov, mosaics by the workshop of M V. Lomonosov "Poltava battle" (1762-64), battle-historical compositions by G. I. Ugryumov, watercolors by M. M. Ivanov. Great French revolution(1789-94) and the Napoleonic wars were reflected in the work of many artists - A. Gro (who went from being passionate about the romance of revolutionary wars to the exaltation of Napoleon I), T. Gericault (who created the heroic-romantic images of the Napoleonic epic), F. Goya (who showed drama of the struggle of the Spanish people with the French invaders). Historicism and the freedom-loving pathos of romanticism were clearly expressed in the battle-historical paintings of E. Delacroix, inspired by the events of the July Revolution of 1830 in France. The national liberation movements in Europe were inspired by the romantic battle compositions of P. Michalovsky and A. Orlovsky in Poland, G. Wappers in Belgium, and later J. Matejko in Poland, M. Alyosha, J. Cermak in the Czech Republic, and others in France in official battle painting (O. Vernet), false romantic effects were combined with external plausibility. Russian academic battle painting moved from traditionally conditional compositions with a commander in the center to a greater documentary accuracy of the overall picture of the battle and genre details (A.I. Sauerweid, B.P. Villevalde, A.E. Kotzebue). Outside the academic tradition of the battle genre, there were popular prints by I. I. Terebenev dedicated to the Patriotic War of 1812, "Cossack scenes" in Orlovsky's lithographs, drawings by P. A. Fedotov, G. G. Gagarin, M. Yu. Lermontov, lithographs by V. F. Timma.

The development of realism in the second half of the XIX - early XX centuries. led to the strengthening of landscape, genre, sometimes psychological principles in the battle genre, attention to the actions, experiences, life of ordinary soldiers (A. Menzel in Germany, J. Fattori in Italy, W. Homer in the USA, M. Gerymsky in Poland, N. Grigorescu in Romania, Ya. Veshin in Bulgaria). A realistic depiction of the episodes of the Franco-Prussian War of 1870-71 was given by the Frenchmen E. Detail and A. Neuville. In Russia, the art of maritime battle painting flourished (I. K. Aivazovsky, A. P. Bogolyubov), battle-everyday painting appeared (P. O. Kovalevsky, V. D. Polenov). With merciless truthfulness, V.V. Vereshchagin showed the harsh everyday life of the war, denouncing militarism and capturing the courage and suffering of the people. Realism and the rejection of conventional schemes are also inherent in the battle genre of the Wanderers - I. M. Pryanishnikov, A. D. Kivshenko, V. I. Surikov, who created a monumental epic of the military exploits of the people, V. M. Vasnetsov, who was inspired by the ancient Russian epic. The greatest master of the battle panorama was F. A. Rubo.

In the XX century. social and national liberation revolutions, unprecedented destructive wars radically changed the battle genre, expanding its boundaries and artistic sense. Many works of the battle genre raised historical, philosophical and social issues, problems of peace and war, fascism and war, war and human society and others. In the countries of the fascist dictatorship, brute force and cruelty were glorified in soulless, false-monumental forms. In opposition to the apology of militarism, the Belgian F. Mazerel, the German artists K. Kollwitz and O. Dix, the Englishman F. Brangwyn, the Mexican J. K. Orozco, the French painter P. Picasso, the Japanese painters Maruki Iri and Maruki Toshiko and others, protesting against fascism , imperialist wars, cruel inhumanity, created vividly emotional, symbolic images of the people's tragedy.

In Soviet art, the battle genre received a very wide development, expressing the ideas of protecting the socialist fatherland, the unity of the army and the people, revealing the class nature of wars. Soviet battle painters brought to the fore the image of the Soviet patriot warrior, his stamina and courage, love for the Motherland and the will to win. The Soviet battle genre was formed in the graphics of the period of the Civil War 1918-20, and then in the paintings of M. B. Grekov, M. I. Avilov, F. S. Bogorodsky, P. M. Shukhmin, K. S. Petrov-Vodkin, A A. Deineka, G. K. Savitsky, N. S. Samokish, R. R. Frentz; he experienced a new upsurge during the Great Patriotic War of 1941-45 and in the post-war years - in posters and "TASS Windows", front-line graphics, graphic cycles by D. A. Shmarinov, A. F. Pakhomov, B. I. Prorokov and others. , paintings by Deineka, Kukryniksy, members of the Studio of military artists named after M. B. Grekov (P. A. Krivonogov, B. M. Nemensky and others), in sculpture by Y. Y. Mikenas, E. V. Vuchetich, M. K Anikushina, A. P. Kibalnikova, V. E. Tsigalya and others.

In the art of the countries of socialism and in the progressive art of the capitalist countries, works of the battle genre are devoted to depicting anti-fascist and revolutionary battles, major events in national history (K. Dunikovsky in Poland, J. Andreevich-Kun, G. A. Kos and P. Lubard in Yugoslavia, J. . Salim in Iraq), the history of the liberation struggle of peoples (M. Lingner in the GDR, R. Guttuso in Italy, D. Siqueiros in Mexico).

Lit .: V. Ya. Brodsky, Soviet battle painting, L.-M., 1950; V. V. Sadoven, Russian battle painters of the 18th-19th centuries, M., 1955; Great Patriotic War in works Soviet artists. Painting. Sculpture. Graphics, M., 1979; Johnson P., Front line artists, L., 1978.

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Battle genre

Battle genre (from the French bataille - battle), a genre of fine art dedicated to the themes of war and military life. The main place in the battle genre is occupied by scenes of battles (including naval ones) and military campaigns of the present or the past. The desire to capture a particularly important or characteristic moment of the battle, and often reveal the historical meaning of military events, brings the battle genre closer to the historical genre. The scenes of everyday life of the army and navy, found in the works of the battle genre, have something in common with the genre of everyday life. Progressive trend in the development of the battle genre of the XIX-XX centuries. connected with the realistic disclosure of the social nature of wars and the role of the people in them, with the exposure of unjust aggressive wars, the glorification of national heroism in revolutionary and liberation wars, and the education of civil patriotic feelings among the people. In the 20th century, in the era of devastating world wars, the battle genre, historical and everyday genres are closely connected with works that reflect the cruelty of imperialist wars, the incalculable suffering of peoples, their readiness to fight for freedom.

Images of battles and campaigns have been known in art since ancient times (reliefs of the Ancient East, ancient Greek vase painting, reliefs on the pediments and friezes of temples, on ancient Roman triumphal arches and columns). In the Middle Ages, battles were depicted in European and Eastern book miniatures (“Facing Chronicle Code”, Moscow, 16th century), sometimes on icons; images on fabrics are also known (“Bayeux Carpet” with scenes of the conquest of England by the Norman feudal lords, around 1073-83); there are numerous battle scenes in the reliefs of China and Kampuchea, Indian murals, and Japanese painting. In the XV-XVI centuries, during the Renaissance in Italy, images of battles were created by Paolo Uccello, Piero della Francesca. The battle scenes received heroic generalization and great ideological content in the cardboards for frescoes by Leonardo da Vinci (“The Battle of Anghiari”, 1503-06), who showed the fierce fierceness of the battle, and Michelangelo (“The Battle of Kashin”, 1504-06), who emphasized heroic readiness warriors to fight. Titian (the so-called "Battle of Cadore", 1537-38) introduced a real environment into the battle scene, and Tintoretto introduced innumerable masses of warriors ("The Battle of Dawn", about 1585). In the formation of the battle genre in the 17th century. an important role was played by the sharp exposure of robbery and cruelty of soldiers in the etchings of the Frenchman J. Callot, the deep disclosure of the socio-historical significance and ethical meaning of military events by the Spaniard D. Velasquez (“Surrender of Breda”, 1634), the dynamics and drama of the battle paintings by the Fleming P.P. Rubens. Later, professional battle painters stand out (A.F. van der Meulen in France), types of conditionally allegorical composition are formed, exalting the commander, presented against the background of the battle (Ch. Lebrun in France), a small battle picture with a spectacular image of cavalry skirmishes, episodes of military life (F. Wauerman in Holland) and scenes of naval battles (V. van de Velde in Holland). In the XVIII century. in connection with the war for independence, works of the battle genre appeared in American painting (B. West, J.S. Copley, J. Trumbull), the Russian patriotic battle genre was born - the paintings “Battle of Kulikovo” and “Poltava Battle”, attributed to I.N. . Nikitin, engravings by A.F. Zubov, mosaic by M.V. Lomonosov "Poltava battle" (1762-64), battle-historical compositions by G.I. Ugryumov, watercolors by M.M. Ivanova. The Great French Revolution (1789-94) and the Napoleonic Wars were reflected in the work of many artists - A. Gro (who went from a passion for the romance of revolutionary wars to the exaltation of Napoleon I), T. Gericault (who created the heroic-romantic images of the Napoleonic epic), F. Goya (who showed the drama of the struggle of the Spanish people with the French invaders). Historicism and the freedom-loving pathos of romanticism were vividly expressed in the battle-historical paintings of E. Delacroix, inspired by the events of the July Revolution of 1830 in France. The national liberation movements in Europe inspired the romantic battle compositions of P. Michalovsky and A. Orlovsky in Poland, G. Wappers in Belgium, and later J. Matejko in Poland, M. Alyosha, J. Cermak in the Czech Republic, and others. In France in official battle painting (O. Vernet), false romantic effects were combined with external plausibility. Russian academic battle painting moved from traditionally conditional compositions with a commander in the center to greater documentary accuracy of the overall picture of the battle and genre details (A.I. Sauerweid, B.P. Villevalde, A.E. Kotzebue). Outside the academic tradition of the battle genre, I.I. Terebenev dedicated to the Patriotic War of 1812, “Cossack scenes” in Orlovsky’s lithographs, drawings by P.A. Fedotova, G.G. Gagarina, M.Yu. Lermontov, lithographs by V.F. Timma.

The development of realism in the second half of the XIX - early XX centuries. led to the strengthening of landscape, genre, sometimes psychological principles in the battle genre, attention to the actions, experiences, life of ordinary soldiers (A. Menzel in Germany, J. Fattori in Italy, W. Homer in the USA, M. Gerymsky in Poland, N. Grigorescu in Romania, Ya. Veshin in Bulgaria). A realistic depiction of the episodes of the Franco-Prussian War of 1870-71 was given by the Frenchmen E. Detail and A. Neuville. In Russia, the art of maritime battle painting flourished (I.K. Aivazovsky, A.P. Bogolyubov), battle-everyday painting appeared (P.O. Kovalevsky, V.D. Polenov). With merciless truthfulness, V.V. showed the harsh everyday life of the war. Vereshchagin, who denounced militarism and captured the courage and suffering of the people. Realism and the rejection of conventional schemes are also inherent in the battle genre of the Wanderers - I.M. Pryanishnikova, A.D. Kivshenko, V.I. Surikov, who created a monumental epic of the military exploits of the people, V.M. Vasnetsov, inspired by the ancient Russian epic. The greatest master of the battle panorama was F.A. Roubaud.

In the XX century. social and national liberation revolutions, unprecedented destructive wars radically changed the battle genre, expanding its boundaries and artistic meaning. In many works of the battle genre, historical, philosophical and social issues, problems of peace and war, fascism and war, war and human society, etc. were raised. In the countries of the fascist dictatorship, brute force and cruelty were glorified in soulless, falsely monumental forms. In contrast to the apology of militarism, the Belgian F. Mazerel, the German artists K. Kollwitz and O. Dix, the Englishman F. Brangvin, the Mexican H.K. Orozco, the French painter P. Picasso, the Japanese painters Maruki Iri and Maruki Toshiko and others, protesting against fascism, imperialist wars, cruel inhumanity, created vividly emotional, symbolic images of the national tragedy.

In Soviet art, the battle genre received a very wide development, expressing the ideas of protecting the socialist fatherland, the unity of the army and the people, revealing the class nature of wars. Soviet battle painters brought to the fore the image of the Soviet patriot warrior, his stamina and courage, love for the Motherland and the will to win. The Soviet battle genre was formed in the graphics of the period of the Civil War of 1918-20, and then in the paintings of M.B. Grekova, M.I. Avilova, F.S. Bogorodsky, P.M. Shukhmina, K.S. Petrova-Vodkina, A.A. Deineki, G.K. Savitsky, N.S. Samokish, R.R. Franz; he experienced a new upsurge during the Great Patriotic War of 1941-45 and in the post-war years - in posters and "TASS Windows", front-line graphics, graphic cycles by D.A. Shmarinova, A.F. Pakhomov, B.I. Prorokov and others, paintings by Deineka, Kukryniksy, members of the Studio of Military Artists named after M.B. Grekov (P.A. Krivonogov, B.M. Nemensky and others), in sculpture by Yu.Y. Mikenas, E.V. Vuchetich, M.K. Anikushina, A.P. Kibalnikova, V.E. Tsygalya and others.

In the art of the countries of socialism and in the progressive art of the capitalist countries, works of the battle genre are devoted to the depiction of anti-fascist and revolutionary battles, major events in national history (K. Dunikovsky in Poland, J. Andreevich-Kun, G.A. Kos and P. Lubard in Yugoslavia, J. . Salim in Iraq), the history of the liberation struggle of peoples (M. Lingner in the GDR, R. Guttuso in Italy, D. Siqueiros in Mexico).

Leonardo da Vinci. "Battle of Angyari". 1503-1506. Figure P.P. Rubens. Louvre. Paris

M.B. Greeks. "Tachanka". 1925. Tretyakov Gallery. Moscow

V.V. Vereshchagin. "Attack by surprise." 1871. Tretyakov Gallery. Moscow

A.A. Deineka. "Defense of Sevastopol". 1942. Russian Museum. Leningrad

battle pictorial military battle

The formation of the battle genre begins in the Renaissance (Leonardo da Vinci, Michelangelo, Titian, Tintoretto), it flourishes in the 17th-18th centuries. (D. Velazquez, Rembrandt, N. Poussin, A. Watteau) and especially vividly conveys the tragedy of the war during the period of romanticism in the 1st half of the 19th century. (F. Goya, T. Gericault, E. Delacroix). Battle painters, as a rule, strive to convey the heroic readiness to fight, sing of military prowess, the triumph of victory, but sometimes in their works they expose the anti-human essence of war, curse it (P. Picasso "Guernica", paintings by V. Vereshchagin, M. Grekov , A. Deineki, E. Moiseenko, G. Korzheva and others).

B.'s formation. refers to the 16th-17th centuries, but images of battles have been known in art since ancient times. The reliefs of the Ancient East represent a king or a commander exterminating enemies, sieges of cities, processions of warriors. In ancient Greek vase painting, reliefs on the pediments and friezes of temples, the military prowess of mythical heroes is sung as a moral model; the image of the battle between Alexander the Great and Darius is unique (Roman mosaic copy of the Hellenistic model of the 4th-3rd centuries BC). The reliefs on the ancient Roman triumphal arches and columns glorify the conquering campaigns and victories of the emperors. In the Middle Ages, battles were depicted on fabrics (The Bayeux Carpet with scenes of the Norman conquest of England, circa 1073-83), in European and Oriental book miniatures (The Illuminated Chronicle, Moscow, 16th century), and sometimes on icons; there are numerous battle scenes in the reliefs of China and Cambodia, Indian murals, and Japanese paintings. The Renaissance in Italy includes the first attempts at a realistic depiction of battles (Paolo Uccello, Piero della Francesca - 15th century); it received heroic generalization and great ideological content in the cardboards for frescoes by Leonardo da Vinci (“The Battle of Anghiari”, 1503-06), which showed the fierce fierceness of the fight and the “brutal madness” of civil strife, and Michelangelo (“The Battle of Kashin”, 1504-06 ), which emphasized the heroic readiness to fight; Titian introduced a real environment into the battle scene (the so-called “Battle of Cadore”, 1537-38), and Tintoretto introduced innumerable masses of warriors (“The Battle of Dawn”, about 1585).

In B.'s formation. in the 17th century an important role was played by the sharp exposure of the cruelty of the conquerors in the etchings of the Frenchman J. Callot, the deep disclosure of the socio-historical meaning of military events in the Surrender of Breda by the Spaniard D. Velasquez (1634-35), the dramatic passion of the battle paintings by the Fleming P.P. Rubens. Later, professional battle painters stand out (A.F. van der Meulen in France), types of conditionally allegorical composition are formed, exalting the commander, presented against the background of the battle (Ch. Lebrun in France), a small battle picture with a spectacular (but indifferent to the meaning of events ) depicting cavalry skirmishes or episodes of military life (S. Rosa in Italy, F. Wauerman in Holland) and scenes of a naval battle (V. van de Velde in Holland). In the 18th century conditional official battles were opposed true images hardships of camp and camp life (A. Watteau in France), and later - paintings by American painters (B. West, J.S. Copley, J. Trumbull), who brought sincere pathos and fresh observations into the depiction of military episodes: the Russian . and. - paintings "Battle of Kulikovo" and "Battle of Poltava", attributed to I.N. Nikitin, engravings by A.F. Zubov with naval battles, mosaic by M.V. Lomonosov "Poltava battle" (1762-64), large battle-historical compositions by G.I. Ugryumov, watercolors by M.M. Ivanov with images of the assaults of Ochakov and Izmail. The Great French Revolution and the Napoleonic Wars gave rise to large-scale battle canvases by A. Gro (who came from a passion for the romance of revolutionary wars to the false exaltation of Napoleon and the outward showiness of the exoticism of the entourage), dry documentary paintings by German artists A. Adam and P. Hess, but at the same time psychologically true romantic images of the Napoleonic epic in the paintings of T. Gericault and stunning dramatic scenes of the struggle of the Spaniards with the French invaders in the paintings and drawings of the Spanish artist F. Goya. The historicism and freedom-loving pathos of progressive romanticism were vividly expressed in the battle-historical paintings of E. Delacroix, who showed the dramatic and passionate tension of mass battles, the cruelty of the conquerors, and the inspiration of the freedom fighters.

The romantic battle compositions of P. Michalovsky and A. Orlovsky in Poland, G. Wappers in Belgium, and later J. Matejko in Poland, J. Cermak in the Czech Republic, J. Jaksic in Serbia, etc. were inspired by the liberation movements. In France, the romantic legend of Napoleon colors semi-genre paintings by N.T. Charlet and O. Raffe. In the dominant official battle painting (O. Berne), nationalistic concepts and false romantic effects were combined with external plausibility. Russian academic battle painting moved from traditional conditional compositions with a commander in the center (V.I. Moshkov) to a greater documentary accuracy of the overall picture of the battle and genre details (A.I. Sauerweid, B.P. Villevalde and especially A.E. Kotzebue) , but even K.P. could not overcome the spirit of idealization traditional for her. Bryullov, who tried to create a folk-heroic epic in The Siege of Pskov (1839-43). Outside the academic tradition B. Zh. there were luboks I.I. Terebenev, dedicated to the national feat in the Patriotic War of 1812, "Cossack scenes" in Orlovsky's lithographs, drawings by P.A. Fedotov on the themes of barracks and camp life, drawings by G.G. Gagarin and M.Yu. Lermontov, vividly recreating scenes of the war in the Caucasus, lithographs by V.F. Timm on the themes of the Crimean War 1853-56.

The apotheosis of war in the vision of VV Vereshchagin.

Having learned in April 1868 that the Emir of Bukhara, who was in Samarkand, had declared a “holy war” to the Russian troops, Vereshchagin rushed after the army towards the enemy. "War! And so close to me! In the most central Asia! I wanted to take a closer look at the anxiety of the battles, and I immediately left the village. Vereshchagin did not catch the battle that unfolded on the outskirts of Samarkand on May 2, 1868, but shuddered at the picture of the tragic consequences of this battle. "I never saw a battlefield, and my heart bled." These words of the artist are a cry of horror of a not yet hardened, impressionable soul, which received the first impetus for deep reflections about what war is. From here it was still very far from the development of firm anti-militarist views. Yet the first major shock had far-reaching consequences.

Having stopped in Samarkand, occupied by the Russians, Vereshchagin began to study the life and life of the city. But when the main troops under the command of Kaufman left Samarkand to further fight the emir, the small garrison of the city locked itself in the citadel and was besieged by thousands of troops of the Shakhrisabz Khanate and the rebellious local population. The opponents outnumbered the Russian forces by almost eighty times. From their fire, the ranks of the courageous defenders of the Samarkand citadel were greatly thinned. The situation sometimes became simply catastrophic. Vereshchagin, having changed his pencil for a gun, joined the ranks of the defenders.

The defense of Samarkand not only tempered Vereshchagin's character and will, but also made him think about what he had experienced and seen. The horrors of the battle, the death and suffering of a mass of people, the atrocities of the enemies who subjected the prisoners to painful torture and cut off their heads - all this left an indelible mark on the mind of the artist, greatly agitated and tormented him. He later said that the looks of the dying remained for him a painful memory forever.

During the second trip to Turkestan, Vereshchagin worked especially hard and very successfully in the field of painting.

In order to generalize the material accumulated in Turkestan, Vereshchagin settled in Munich from the beginning of 1871, where he began to create a large series of paintings. A number of battle paintings were united by the artist into a series, which he called "Barbarians". In the paintings of this series: “Look out” (1873), “Attack by surprise” (1871), “Surrounded - persecuted” (1872), “Presenting trophies” (1872), “Triumphing” (1872), “At the tomb of the saint they thank the Almighty "(1873) and" The Apotheosis of War "(1871-1872), episodes related to one another from the Turkestan war, telling about its cruelty, are captured. The final picture of the series "The Apotheosis of War" depicts a pyramid of human skulls, stacked in a Central Asian valley, against the backdrop of a war-torn city and dried-up gardens. Flocks of hungry birds of prey circle over the pyramid, sit on the skulls. The hot air is conveyed with great skill. The expressive grayish-yellow color perfectly conveys the feeling of a sun-dried, dead nature. In The Apotheosis of War, the artist achieves a significant tonal unity, indicating the growth of his skill in the transfer of space, air and light.

"The Apotheosis of War" is the artist's harsh condemnation of wars of conquest that bring death, annihilation, and destruction. The picture reproduces one of the "pyramids", which, on the orders of Tamerlane and other oriental despots, were built from the skulls of their defeated enemies. On the frame of the picture, the artist inscribed significant words: "Dedicated to all the great conquerors, past, present and future." The picture fully retains its accusatory power to our time, revealing the criminality of modern imperialist aggression, dooming entire countries and peoples to destruction.

Military painting 1941-1945

The most difficult test for the country was the Second World War with Hitler's Germany. When the second broke World War, the history of world art has experienced extraordinary events. The social movements of those years cause revolutionary trends in artistic creativity. National movements stimulate new ideas and art forms. A highly developed artistic culture in these years is faced with elementary ideological and crude populism. In this period government and the political parties are increasingly insisting on their interest in the arts.

Increasingly, this interest was expressed in a cultural policy, in the spirit of which the rights to the national and classical heritage are proclaimed and modern art movements receive an ideological, political qualification, from which practical conclusions also follow. The painters of that time tried to reflect the intensity of the fierce struggle of the people through the image of Russian nature, for which the presence of alien invaders was alien, many of the events of the war were revealed. The chronicle of mournful losses was forever captured by Russian painting. The events of the Great Patriotic War will never be erased in human memory. To her more than once to address the artists. The deepest drama experienced by mankind over the past decades of the 20th century - the invasion of fascism and the Second World War - has placed historical and artistic processes in the most direct connection and dependence on it. The emigration of architects and artists from countries captured by fascism has made significant changes in demographics artistic culture peace. Escape from fascism, rejection of it by artists who are closed in their inner world, preserving the images and ideals of their work, was an act of spiritual resistance to fascist aggression.

Capital works of easel art are also created in the USSR. In the countries captured by fascism, the art of the Resistance is formed - an artistic movement through political effectiveness and developing its own properties of content and style. This art contains a sharp response to the tragedy of war, embodies the nightmares of fascism in allegorical and concrete event compositions.

Arkady Alexandrovich Plastov

Plastov A.A. was born in 1893 in the village of Rest of the Simbirsk province. His best paintings have become classics of Russian art of the 20th century. Plastov is a great artist of peasant Russia. She looks at us from his paintings and portraits and will remain in eternity as Plastov depicted her.

He was the son of a village bookman and the grandson of a local icon painter. He graduated from a religious school and a seminary. From his youth he dreamed of becoming a painter. In 1914, he managed to enter the MUZhVZ, but he was accepted only to the sculpture department. At the same time he studied painting. In 1917-1925. Plastov lived in his native village; as "literate", he was engaged in various public affairs. Only in the second half of the 1920s. he was able to return to professional artistic work.

In 1931, Plastov A.A. the house burned down, almost everything created by that time perished. The artist is almost forty years old, and he was practically in the position of a beginner. But forty more years of tireless work - and the number of his works approached 10,000. Some portraits - several hundred. Mostly these are portraits of fellow villagers. The artist worked a lot and fruitfully in the 1930s, but he created his first masterpieces during the war years.

Arkady Alexandrovich is a natural realist. Modernist pride, the search for something completely new and unprecedented were completely alien to him. He lived in the world and admired its beauty. Like many Russian realist artists, Plastov is convinced that the main thing for an artist is to see this beauty and be extremely sincere. No need to write beautifully, you need to write the truth, and it will be more beautiful than any fantasy. Every shade, every line in his paintings, the artist repeatedly checked in his work from nature.

innocence, complete absence what is called "manner" distinguishes Plastov even from those wonderful masters, the heir of whose pictorial principles he was - A.E. Arkhipova, F.A. Malyavin, K.A. Korovin. Plastov A.A. recognizes himself as the successor of the entire national artistic tradition. In the colors of Russian nature, he sees the enchanting colors of our old icons. These colors live in his paintings: in the gold of grain fields, in the greenery of grass, in the red, pink and blue colors of peasant clothes. Russian peasants take the place of the holy ascetics, whose work is both hard and holy, whose life for Plastov is the embodiment of the harmony of nature and man.

Plastov's works reflect the trials of the Soviet people during the Great Patriotic War ("Fascist flew by", 1942), the patriotic work of women, the elderly and children on collective farm fields during the war years ("Harvest", "Haymaking", 1945, both paintings were awarded in 1946 Stalin Prize). The picture "Haymaking" sounded like a colorful anthem of the peaceful life that has come, the joy of the people, who with honor and glory emerged from the hard trials of the war. In the painting "Harvest" - the theme of the war is hidden, it is in the absence of fathers and older brothers of children sitting next to an elderly peasant. Her triumph is in the radiance of the sun's rays, the riot of herbs and flowers, the breadth of the Russian landscape, the simple and eternal joy of labor in her native land.

During the war, the artist lived and worked in the village of Prislonikha. Plastov's canvas "Fascist flew by" (1942) is one of the most disturbing and unforgettable works of art. Russian autumn, with its golden headdress of falling leaves, withering greenery in the fields and the figure of a dead shepherd boy in the foreground, bears traces of senseless military cruelty. At the horizon, the silhouette of a flying German killer plane is barely visible.

And subsequently, in his best works, Plastov kept the achieved level: "Spring" (1952), "Youth" (1953-54), "Spring" (1954), "Summer" (1959-60), "Tractor Drivers' Dinner" (1951) . Among the works of Plastov, the painting "Spring" (1951) also stands out. A poetic feeling of life emanates from this canvas. A young girl, running out of a village bathhouse, carefully dresses a little girl. The artist skillfully conveys the beauty of a young naked female body, the transparency of the still icy air. Man and nature appear here inextricably linked.

It is no coincidence that there is something generalizing in the titles of many of his paintings. Arkady Alexandrovich was given a rare ability to turn real life events, often the most mundane ones, into perfect image how to discover their hidden, true meaning and significance in the general system of the universe. Therefore, he, a modern Russian realist, so naturally continued the classical artistic tradition.

The happiness of life, the inexplicably sweet feeling of the Motherland literally pour over us from Plastov's paintings. But ... that Russia that Plastov loved so much, of which he was a part, was already fading into the past before his eyes. "From the Past" (1969-70) - this is the name of one of the last major works of the artist. Peasant family in the field, during a short rest. Everything is so naturally simple and so significant. Peasant Holy Family. The world of harmony and happiness. A piece of heaven on earth.

Plastov's illustrations for the works of Russian poets and prose writers are also interesting. They are very close in their worldview to his paintings. The brightness and emotionality of the concept are distinguished by Plastov's works in the field of illustration ("Frost, Red Nose" by N.A. Nekrasov, 1948; "The Captain's Daughter" by A.S. Pushkin, 1948-1949; works by L.N. Tolstoy, 1953; story A .P. Chekhov, 1954, etc.).

Canvas "Collective farm holiday". For a number of reasons, this work fits the definition of style socialist realism, proclaimed the main one for Soviet art. True, it should be clarified that the mentioned picture was included in realistic method with reservations, because it is too bright and defiantly folk. The author overloaded the plot with details several times, but this helped him to create the impression of a natural village fun, devoid of official idleness.

Plastov A.A. - Soviet painter, People's Artist of the USSR. Plein-air genre paintings and landscapes, Plastov's portraits are imbued with a poetic perception of nature, the life of the Russian village and its people ("The Fascist Flew", 1942, the cycle "People of the Collective Farm Village", 1951-1965). Lenin Prize (1966) State. USSR Prize (1946).

In 1945 ended big period art history of the 20th century. The victory of democratic forces over fascism and the grandiose socio-political, national and international changes that followed it decisively rebuilt the artistic geography of the world, introduced serious changes in the composition and course of development of world art. With its new problems, art enters the post-war period, when the three main factors that determine its development - socio-political, national and international, ideological and artistic - create a new historical and artistic situation.

The spirit of wartime was imbued with the work of artists and sculptors. During the war years, such forms of operational visual agitation as military and political posters and caricatures became widespread. Thousands of copies were issued such posters, memorable for the entire military generation of Soviet people: “Warrior of the Red Army, save!” (V. Koretsky), "Partisans, take revenge without mercy!" (T. Eremin), "The Motherland is calling!" (I. Toidze) and many others. More than 130 artists and 80 poets took part in the creation of the satirical TASS Windows.

Gerasimov Sergey Vasilyevich (1885-1964)

A gifted painter and graphic artist, a master of book illustration, a born teacher, S.V. Gerasimov successfully realized his talent in all these areas of creativity.

He received his art education at the SHPU (1901-07), then at the Moscow School of Painting and Art (1907-12), where he studied with K.A. Korovin and S.V. Ivanova. In his youth, Gerasimov preferred watercolors, and it was in this fine technique that he developed the exquisite color scheme characteristic of his works with silver-pearl overflows of free, light strokes. Along with portraits and landscapes, he often turned to the motifs of folk life, but it was not the narrative and not the ethnographic details that attracted the artist here, but the very element of rural and provincial urban life (“At the Cart”, 1906; “Mozhaisk Rows”, 1908; “Wedding in the Tavern ", 1909). In drawings, lithographs, engravings of the early 1920s. (series "Men") the artist was looking for a sharper, dramatic expression of intense peasant characters. These searches partly continued in painting: "Front-line soldier" (1926), "Collective farm watchman" (1933). Gerasimov is a lyricist by nature, an exquisite landscape painter. His highest achievements are in small natural studies of Russian nature. They are remarkable for their poetry, subtle sense of life, harmony and freshness of color (“Winter”, 1939; “The Ice Passed”, 1945; “Spring Morning”, 1953; series “Mozhaisk Landscapes”, 1950s, etc.). Meanwhile, according to the official hierarchy of genres adopted in his time, a painting with a detailed and ideologically sustained plot was considered a full-fledged work of painting. But to a certain extent, Gerasimov succeeded in such paintings only when he could convey in them a lyrical state that unites the poetic nature of the natural environment: “On the Volkhov. Fishermen" (1928-30), "Collective Farm Holiday" (1937).

Attempts to convey dramatic situations were not very convincing (The Oath of the Siberian Partisans, 1933; The Mother of the Partisan, 1947). Among graphic works artist, the illustrations for the poem by N.A. Nekrasov “Who should live well in Rus'” (1933-36) and to the novel by M. Gorky “The Artamonov Case” (1939-54; for them Gerasimov was awarded the gold medal of the 1958 World Exhibition in Brussels). From a young age and throughout his entire career, Gerasimov was enthusiastically engaged in teaching: at the art school at the printing house of the Partnership I.D. Sytin (1912-14), at the State School of Printing under the People's Commissariat of Education (1918-23), in Vkhutemas - Vkhutein (1920-29), Moscow Polygraphic Institute (1930-36), Moscow State Art Institute (1937-50), MVHPU (1950- 64). In 1956 he was awarded the degree of Doctor of Arts.

Alexander Alexandrovich Deineka

Alexander Alexandrovich Deineka was born on May 8 (20), 1899 in Kursk, in the family of a railway worker. He received his primary education in Kharkov art school(1915-1917). The youth of the artist, like many of his contemporaries, was associated with revolutionary events. In 1918, he worked as a photographer in Ugrozysk, headed the section of the Fine Arts Gubnadobraz, designed agitation trains, participated in the defense of Kursk from the whites.

From the army he was sent to study in Moscow, at VKhUTEMAS at the printing department, where his teachers were V.A. Favorsky and I.I. Nivinsky (1920-1925). Great importance in creative development and in shaping the artist's attitude, they had years of apprenticeship and communication with V.A. Favorsky, as well as meetings with V.V. Mayakovsky. creative look Deineki was vividly and clearly represented in his works at the very first exhibition in 1924, in which he participated as part of the "Group of Three" (the group also included A.D. Goncharov and Yu.I. Pimenov), and at the First Debating Exhibition of Associations active revolutionary art. In 1925 Deineka became one of the founders of the Society of Easel Painters (OST). During these years, he created the first Soviet truly monumental historical and revolutionary painting, The Defense of Petrograd (1928). In 1928 Deineka became a member of the art association "October", and in 1931-1932 - a member of the Russian Association of Proletarian Artists (RAPH). In 1930, the artist created posters expressive in terms of color and composition “We are mechanizing the Donbass”, “Athlete”. In 1931, paintings and watercolors very different in their mood and subject matter appeared: “On the Balcony”, “The Girl at the Window”, “The Mercenary of the Interventions”.

A new significant stage in the work of Deineka began in 1932. The most significant work of this period is the painting "Mother" (1932). In the same years, the artist created works that were bold in their novelty and poetry: “ night landscape with horses and dry herbs ”(1933),“ Bathing Girls ”(1933),“ Noon ”(1932), etc. Along with works of lyrical sound, socio-political works appeared:“ Unemployed in Berlin ”(1933), filled with anger drawings for the novel "Fire" by A. Barbusse (1934). From the mid-1930s, Deineka became interested in modern themes. The artist had previously addressed the theme of aviation (Paratroopers over the Sea, 1934), but in 1937, work on illustrations for a children's book by pilot G.F. Baydukov's "Across the Pole to America" (published in 1938) contributed to the fact that the master became interested in aviation with renewed vigor. He painted a number of paintings, one of the most romantic - "Future Pilots" (1937). The historical theme found its embodiment in monumental works devoted mainly to pre-revolutionary history. The artist made sketches for panels for exhibitions in Paris and New York. Among the most significant works of the late 1930s and early 1940s is The Left March (1940). During the Great Patriotic War, Deineka created tense and dramatic works. Painting “Outskirts of Moscow. November 1941 "(1941) - the first in this series. Deep suffering is imbued with another work - "The Burnt Village" (1942). In 1942, Deineka created the canvas “The Defense of Sevastopol” (1942), filled with heroic pathos, which was a kind of hymn to the courage of the defenders of the city. Among the significant works of the post-war period are the canvases “By the Sea. Fishermen” (1956), “Military Moscow”, “In Sevastopol” (1959), as well as mosaics for the foyer of the assembly hall of Moscow University (1956), a mosaic for the foyer of the Palace of Congresses in the Moscow Kremlin (1961). Deineka's mosaics adorn the Mayakovskaya (1938) and Novokuznetskaya (1943) Moscow metro stations, and for the Good Morning (1959-1960) and Hockey Players (1959-1960) mosaics, he was awarded the Lenin Prize in 1964 .

Deineka taught in Moscow at Vkhutein (1928-1930), at the Moscow Polygraphic Institute (1928-1934), at the Moscow art institute named after V.I. Surikov (1934-1946, 1957-1963), at the Moscow Institute of Applied and Decorative Arts (1945-1953, director until 1948), at the Moscow Architectural Institute (1953-1957). He was a member of the presidium (since 1958), vice-president (1962-1966), academic secretary (1966-1968) of the decorative arts department of the USSR Academy of Arts. Awarded the Order of Lenin, the Order of the Red Banner of Labor and medals, hero Socialist Labor (1969)

June 12, 1969 Alexander Alexandrovich Deineka died in Moscow, was buried at the Moscow Novodevichy Cemetery

Korin Pavel Dmitrievich

Korin Pavel Dmitrievich (1892-1967), Russian artist. Born in Palekh on June 25 (July 7), 1892 in the family of an icon painter. In 1912 he entered Moscow School painting, sculpture and architecture, which he graduated in 1916. Among his mentors were K.A. Korovin and S.V. Malyutin; however, Korin's main teachers were A.A. Ivanov and M.V. Nesterov. Korin lived in Moscow, often visiting Palekh.

The young artist's dreams of creating a large canvas, equivalent to the Ivanovo Messiah, finally took shape in the Donskoy Monastery, on the day of the funeral of Patriarch Tikhon (1925). The thousands of believers inspired Korin to create a Requiem, a painting that would embody "Holy Rus'" at the turn of tragic changes. In line with this idea, he creates wonderful portraits-types (Father and Son, 1930; Beggar, 1933; Abbess, 1935; Metropolitan (future Patriarch Sergius), 1937, etc.; almost all works are in the Korin House Museum); his original style of writing is developed, much more rigid and severe than Nesterov's. At the invitation of M. Gorky (who proposed to name future picture Rus' is leaving) Korin managed to visit Italy and other European countries in 1931-1932. In the 1930s, work on the outgoing Russia (as a result of direct threats from the NKVD) had to be interrupted. Following the tragically lonely image of Gorky (1932), Korin wrote in 1939-1943 (by order of the Committee for Arts) a series of portraits of Soviet cultural figures (M.V. Nesterov, A.N. Tolstoy, V.I. Kachalov; all - in the Tretyakov Gallery; and others), ceremonial and at the same time sharply dramatic. The triptych Alexander Nevsky (1942-1943, ibid) and the mosaics at the Komsomolskaya metro station (1953), created in the war and post-war years, are imbued with the pathos of struggle and victory. In the post-war decades, Korin completed a compositional sketch of the Requiem (1959, house-museum) and continued a series of "heroic portraits" (S.T. Konenkov, 1947; Kukryniksy, 1958; both portraits in the Tretyakov Gallery; Lenin Prize 1963).

In 1932-1959 Korin directed the restoration workshops of the Museum of Fine Arts named after A.S. Pushkin. Gathered the most valuable collection of ancient Russian art (exhibited - along with the works of the artist himself - in his Moscow house-museum, which opened in 1971).

Windows TASS

“TASS Windows” are propaganda political posters produced by the Telegraph Agency of the Soviet Union (TASS) during the Great Patriotic War of 1941-1945. Like "Windows of GROWTH" - an art series created by Vladimir Mayakovsky back in the days of the Civil War - this is an original form of propaganda and mass art. Sharp, intelligible satirical posters with short, easy-to-remember poetic texts exposed the enemies of the Fatherland.

Any war is not only a confrontation of armies, weapons and tactical schemes. Any war is a powerful ideological battle, the advantage in which helps to win on the battlefields. The Great Patriotic War became the most striking, visible confirmation of this fact. Having defeated the enemy in mortal battles, we defeated him morally. We won in the terrible and disastrous 41st. Because even then they appealed to the best, brightest sides of the human soul. Our war was just, sacrificial, patriotic. We fought for our land, for our people, for the desecrated honor of our country.

In the "Windows of TASS" - a series of posters that were regularly published throughout the war and reflected in a satirical or patriotic form the most significant, current events that took place at the front, in the rear or in the international arena, the team worked talentedly best artists, writers and poets of that time. "Windows TASS" - colored satirical posters that entered the history of the Great Patriotic War as a unique heroic page, as one of the formidable types of ideological weapons that mercilessly smashed the Nazi invaders and their generals. These posters were made, as a rule, with great skill and had an extraordinary effect on the viewer, giving rise to a flame in him. Soviet patriotism, inciting sacred anger and sizzling hatred towards the cruel and mortal enemy who treacherously attacked our Motherland. They were well known at the front and in the rear, in the underground in the occupied territory and in partisan detachments, in many countries of the world, including Germany itself.

The artists were able to convey in caricatures a portrait resemblance to the original and at the same time highlight the most characteristic in the appearance or actions of the fascist leader. Tassovites said that they carefully watched German newsreel, photographs for a long time, studied the characteristic gestures, gait, appearance of their future “heroes”: Hitler, Goebbels, Goering, Himmler and others. Here, in addition to artistic skill, it was necessary to be a subtle psychologist. Boris Efimov recalls: “I read somewhere that in the intimate circle of the Hitlerite elite, Goebbels bore the nickname “Mickey Mouse” after the famous cartoon mouse. I liked this comparison, and I began to portray the "master of the big lie" in the appropriate guise. Kukryniksy depicted Hitler in a feverish movement with a pointing finger, frightening gestures, disheveled hair.

The first poster of "Windows TASS" was released on June 27, 1941, later posters began to appear weekly. More than 130 artists and 80 poets worked at Okny TASS. In a single patriotic impulse, people from the most different professions: sculptors, painters, painters, theater artists, graphic artists, art historians.

The main core of the team consisted of those who worked with Vladimir Mayakovsky in the "Windows of ROSTA" in the early 1920s: artists M. Cheremnykh, N. Denisovsky, B. Efimov, V. Lebedev and V. Kozlinsky. Many names of artists and poets who worked at TASS Windows were widely known not only in the Soviet Union, but also in the world - the Kukryniksy trio (Kupriyanov, Krylov, Sokolov), Demyan Bedny, Samuil Marshak, Konstantin Simonov.

Each release of "Windows" in the army was expected no less than the supply of ammunition and military equipment. Communication with the front was maintained constantly. At the door of the workshop on the Kuznetsky Most, one could constantly see front-line cars arriving for the next print run. Often, Tassovites themselves went to the location of military units and arranged impromptu exhibitions of “TASS Windows” right on the front line.

The TASS Windows posters were an effective ideological weapon during the war. They could be seen on the armor of tanks, on planes. The posters infuriated the Nazis. The partisans were especially zealous in kindling this feeling among the invaders. For example, in Kharkov, partisans completely sealed the building of the local Gestapo with TASS Windows. There is no need to explain what the Nazis experienced when they saw so many caustically satirical anti-Nazi posters in the morning. And in Tula and Vitebsk, posters pasted on houses and severely frost-bitten so that there was no way to tear them off the walls were fired upon by the Nazis in a rage. The impotent anger of the Germans towards the TASS Windows was so fierce that Goebbels personally threatened to "hang up all those who work in the TASS Windows immediately after the capture of Moscow by the German troops."

The Political Directorate of the Red Army made small leaflets of the most popular TASS Windows with texts in German. These leaflets were thrown into the territories occupied by the Nazis, and distributed by partisans. The texts typed in German indicated that the leaflet could serve as a pass for surrender for German soldiers and officers.

Already in the first posters, Tassovites sought to resurrect the heroic past of the Russian people, to once again remind them of the difficult trials that the Russian people endured in the fight against foreign invaders. One of the posters was called “Russian people”. It depicted pictures of the battles of Russian soldiers with the Teutons on Lake Peipus, with the hordes of Mamai, with the Prussian troops, the troops of Napoleon. All these battles ended with the victory of the Russian army.

More than once, legendary historical figures, great Russian commanders, such as Alexander Nevsky, Dmitry Donskoy, Kutuzov, Suvorov, became the subject for the image. The winged lines of Pushkin, Lermontov, Griboyedov, Mayakovsky were also often used in posters. Written about other events, they acquired a modern sound.

Without any printing facilities, the team of authors still managed to release a new "Window" every day. At the same time, it is important to note that not a single poster was published, but a whole circulation of several hundred copies (at the end of the war it reached one and a half thousand), which, under the most difficult conditions, were manually stenciled in a workshop on Kuznetsky Most. At the same time, they often worked as a “family contract” - there was enough work for everyone. As soon as the messages of the Sofinformburo were broadcast on the radio, the artists immediately sketched out a sketch, and the poets, often ahead of the artists, wrote poems. Usually, the poster was ready in 24 hours, and in some emergency cases - no more than 4 hours! So, for example, posters were created dedicated to the Battle of Kursk, the capture of Stalingrad, Kharkov. Often the posters used texts already published in the periodical press. So, 18 hours after the publication of K. Simonov's poem "Kill him!" Kukryniksy's poster was created, on which a fascist in the form of a gorilla-like monster with a machine gun in his hands walked over the corpses of women and children. Needless to say, the furious, invocative lines of Konstantin Simonov, combined with the image of the inhuman appearance of the occupier, had a powerful moral impact on the souls of soldiers fighting for their homeland!

"Windows TASS" were printed in several colors using stencils and were the successors of Russian traditions folk pictures and satirical "Windows of GROWTH" of the 20s. of the last century: concise, well-aimed drawing, sonorous contrasting color, biting, witty text, easy-to-remember rhyme. Here are some text captions on the first posters: “The fascist took the route to the Prut, but the fascist from the Prut rod”, “Each blow of the hammer is a blow to the enemy!”, “Death to the fascist reptile!”, “We knew that the defender of Moscow would not make a mess!” ," Destroying the Nazis without mercy, the naval guns say: whoever beats the enemy near Leningrad defends Stalingrad! You will lay down the enemy in the North - you will help to beat the enemy on the Volga! ”...

The defense of Moscow occupied a special place in the editorial work. In the most difficult conditions of the besieged city, when most of the enterprises and cultural institutions were evacuated to the east of the country, including the main backbone of the editorial office of Okon TASS, a handful of TASS artists, headed by M. Sokolov-Skalya, remained in the city to help with their work Red Army to defend their native capital. In order to convince all Muscovites and fighters at the front that the editorial office is working calmly even in a formidable situation, it was decided to write the date and the word “Moscow” on the stamp of each “window”. In just two months - in October and November - about 200 posters were released! It was truly heroic work. The popularity and significance of the “TASS Windows” was such that already in 1942 at the Historical Museum at the exhibition “The Defeat of the Nazi Troops on the Outskirts of Moscow”, a significant part of the exposition was just posters from the workshop on Kuznetsky Most. This aroused great interest among the inhabitants of the city. From March 22 to May 3, the exhibition was visited by 10,199 people.

"Windows TASS" has gained wide popularity not only in our country, but also abroad. Six exhibitions were held abroad at the beginning of the war - in England, the USA, Latin America, China, Sweden. In China, for example, after viewing an exhibition, 12 Chinese came to the Soviet consulate and applied for admission as volunteers to the Red Army. In Helsinki, where the exhibition was held immediately after Finland ceased to be a German satellite, many visitors left enthusiastic entries in the guest book: “The Soviet Union knows how to fight, but it is also a master of drawing. Brilliant! Let's take off our hats!" One of the American manufacturers sent a letter to Moscow with a request to issue a subscription of “Windows TASS” in his name, motivating his request by the fact that although he does not share the ideology that is carried out in these posters, however, posted in the shops of his enterprises, they significantly contribute to increasing the productivity of workers, which is extremely beneficial. “Some of the Windows,” Vechernyaya Moskva wrote in August 1942, “are completely reprinted abroad and come out as posters with a foreign text.”

The Soviet government highly appreciated the work of the team. In 1942, a group of poets and artists were awarded nine State Prizes. They were received by S. Marshak, Kukryniksy, P. Sokolov-Skalya, G. Savitsky, N. Radlov, P. Shumikhin, M. Cheremnykh. In total, during the war, 1250 posters were issued, which were a truly poetic and artistic chronicle of the Great Patriotic War. There is no doubt that TASS Windows will forever remain one of the brightest pages in the history of our country's culture. And the high civic position of the best representatives national culture, who brought victory closer with their selfless work in the art workshops on the Kuznetsk bridge, is without a doubt an example of serving the Motherland and its people.

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Studio of Military Artists named after M. B. Grekov

The emergence of the studio is inextricably linked with the name of the remarkable artist Mitrofan Borisovich Grekov, one of the founders of Soviet battle painting. His canvases "Tachanka", "Trumpeters of the First Cavalry Army", "To the Detachment to Budyonny", "Banner and Trumpeter" are among the classic works of Soviet painting.

In 1934, after the death of the artist, by a special resolution of the Council of People's Commissars, the “Iso-workshop of amateur Red Army art named after M. B. Grekov” was created in Moscow. The studio was called upon to continue and creatively develop the best traditions of the Soviet battle genre. Initially, it was a training workshop for the most gifted artists of the Red Army, who improved their skills under the guidance of prominent artists: V. Baksheev, M. Avilov, G. Savitsky and others. In 1940, the studio became the art organization of the Red Army, uniting military artists.

During the Great Patriotic War, many Greeks went to the front. The main type of creative work in military conditions was full-scale sketches. Their historical and artistic significance cannot be overestimated. Military drawings by N. Zhukov, I. Lukomsky, V. Bogatkin, A. Kokorekin and other artists are a kind of visible chronicle of the Great Patriotic War, its main military battles, front-line life. They are marked by great love for the protagonist of this greatest battle for the Motherland - the Soviet soldier.

The theme of the feat of the people in the Great Patriotic War is being creatively enriched even at the present time. In the first post-war years, the Greeks created canvases, graphic series, sculptural compositions, which received the widest recognition. These are the paintings "Mother" by B. Nemensky, "Victory" by P. Krivonogov, a monument to the Liberator E. Vuchetich, installed in Treptow Park in Berlin.

The artists of the studio have created and continue to create many monumental monuments of military glory in various cities of the Soviet Union and abroad. The most significant battles are captured in such works as the panorama "Battle of Stalingrad" in Volgograd (made by a group of artists under the direction of M. Samsonov), the diorama "Battle of Perekop" in Simferopol (author N. But) and others. In these works, as it were, anew the events of the military years come to life, they help to realize what at a huge cost the great victory of the Soviet people was achieved.

The work of artists reflects in various ways modern life The Soviet Army, its peaceful everyday life, military exercises. The works of the leading masters of the studio N. Ovechkin, M. Samsonov, V. Pereyaslavets, V. Dmitrievsky, N. Solomin and others reveal the image of a Soviet warrior, a man of high moral purity, ideological commitment, selflessly loving his socialist Motherland.

In the 17th century, the division of genres of painting into "high" and "low" was introduced. The first included historical, battle and mythological genres. The second included mundane genres of painting from everyday life, for example, everyday genre, still life, animalistics, portrait, nude, landscape.

historical genre

The historical genre in painting depicts not a specific object or person, but a certain moment or event that took place in the history of past eras. It is included in the main painting genres in art. Portrait, battle, everyday and mythological genres are often closely intertwined with the historical.

"Conquest of Siberia by Yermak" (1891-1895)
Vasily Surikov

Artists Nicolas Poussin, Tintoretto, Eugene Delacroix, Peter Rubens, Vasily Ivanovich Surikov, Boris Mikhailovich Kustodiev and many others painted their paintings in the historical genre.

mythological genre

Legends, ancient legends and myths, folklore- the image of these plots, heroes and events has found its place in the mythological genre of painting. Perhaps, it can be distinguished in the painting of any nation, because the history of each ethnic group is full of legends and traditions. For example, such a plot of Greek mythology as a secret romance of the god of war Ares and the goddess of beauty Aphrodite depicts the painting "Parnassus" Italian artist named Andrea Mantegna.

"Parnassus" (1497)
Andrea Mantegna

Mythology in painting was finally formed in the Renaissance. Representatives of this genre, in addition to Andrea Mantegna, are Rafael Santi, Giorgione, Lucas Cranach, Sandro Botticelli, Viktor Mikhailovich Vasnetsov and others.

Battle genre

Battle painting describes scenes from military life. Most often, various military campaigns are illustrated, as well as sea and land battles. And since these battles are often taken from real history, the battle and historical genres find their intersection point here.

Fragment of the panorama "Battle of Borodino" (1912)
Franz Roubaud

Battle painting took shape in times Italian Renaissance in the work of artists Michelangelo Buonarroti, Leonardo da Vinci, and then Theodore Gericault, Francisco Goya, Franz Alekseevich Roubaud, Mitrofan Borisovich Grekov and many other painters.

household genre

Scenes from everyday, social or privacy ordinary people, whether it be urban or peasant life, depicts the everyday genre in painting. Like many others painting genres, everyday paintings are rarely found in their own form, becoming part of the portrait or landscape genre.

"Seller of Musical Instruments" (1652)
Karel Fabricius

Origin household painting occurred in the 10th century in the East, and it passed to Europe and Russia only in the 17th-18th centuries. Jan Vermeer, Karel Fabricius and Gabriel Metsu, Mikhail Shibanov and Ivan Alekseevich Ermenev are the most famous artists household paintings during that period.

Animal genre

The main objects of the animalistic genre are animals and birds, both wild and domestic, and in general all representatives of the animal world. Initially, animalistics was included in the genres Chinese painting, since it first appeared in China in the 8th century. In Europe, animalism was formed only in the Renaissance - animals at that time were depicted as the embodiment of the vices and virtues of man.

"Horses in the Meadow" (1649)
Paulus Potter

Antonio Pisanello, Paulus Potter, Albrecht Durer, Frans Snyders, Albert Cuyp are the main representatives of animalistics in the visual arts.

Still life

In the still life genre, objects that surround a person in life are depicted. These are inanimate objects grouped together. Such objects may belong to the same genus (for example, only fruits are depicted in the picture), or they may be heterogeneous (fruits, utensils, musical instruments, flowers, etc.).

"Flowers in a Basket, Butterfly and Dragonfly" (1614)
Ambrosius Bosschaert the Elder

Still life as an independent genre took shape in the 17th century. Flemish and dutch school still life. In this genre, representatives of the most different styles, from realism to cubism. Some of the most famous still lifes were painted by the painters Ambrosius Bosschaert the Elder, Albertus Jonah Brandt, Paul Cezanne, Vincent van Gogh, Pierre Auguste Renoir, Willem Claes Heda.

Portrait

Portrait - a genre of painting, which is one of the most common in the visual arts. The purpose of a portrait in painting is to portray a person, but not just his appearance, but also to convey the inner feelings and mood of the person being portrayed.

Portraits are single, pair, group, as well as a self-portrait, which is sometimes distinguished as a separate genre. And the most famous portrait of all time, perhaps, is the painting by Leonardo da Vinci called "Portrait of Mrs. Lisa del Giocondo", known to everyone as "Mona Lisa".

"Mona Lisa" (1503-1506)
Leonardo da Vinci

The first portraits appeared millennia ago in Ancient Egypt- these were images of the pharaohs. Since then, most artists of all time have dabbled in this genre in one way or another. The portrait and historical genres of painting can also intersect: the image of a great historical figure will be considered a work of the historical genre, although it will convey the appearance and character of this person as a portrait.

nude

The purpose of the nude genre is to depict the naked body of a person. The Renaissance period is considered the moment of the emergence and development of this type of painting, and the main object of painting then most often became the female body, which embodied the beauty of the era.

"Country Concert" (1510)
Titian

Titian, Amedeo Modigliani, Antonio da Correggio, Giorgione, Pablo Picasso are the most famous artists who painted pictures in the nude genre.

Scenery

The main theme of the landscape genre is nature, the environment is the city, rural or wilderness. The first landscapes appeared in ancient times when painting palaces and temples, creating miniatures and icons. As an independent genre, the landscape takes shape as early as the 16th century and has since become one of the most popular painting genres.

It is present in the work of many painters, starting with Peter Rubens, Alexei Kondratievich Savrasov, Edouard Manet, continuing with Isaac Ilyich Levitan, Piet Mondrian, Pablo Picasso, Georges Braque and ending with many contemporary artists of the XXI century.

"Golden Autumn" (1895)
Isaac Levitan

Among landscape painting, one can single out such genres as sea and city landscapes.

Veduta

Veduta is a landscape, the purpose of which is to depict the appearance of an urban area and convey its beauty and color. Later, with the development of industry, the urban landscape turns into an industrial landscape.

"Saint Mark's Square" (1730)
Canaletto

You can appreciate urban landscapes by getting acquainted with the works of Canaletto, Pieter Brueghel, Fyodor Yakovlevich Alekseev, Sylvester Feodosievich Shchedrin.

Marina

Seascape, or marina depicts nature sea element, her greatness. Perhaps the most famous marine painter in the world is Ivan Konstantinovich Aivazovsky, whose painting The Ninth Wave can be called a masterpiece of Russian painting. The heyday of the marina occurred simultaneously with the development of the landscape as such.

"Sailboat in a Storm" (1886)
James Buttersworth

Katsushika Hokusai, James Edward Buttersworth, Alexei Petrovich Bogolyubov, Lev Feliksovich Lagorio and Rafael Montleon Torres are also known for their seascapes.

If you want to learn even more about how the genres of painting in art arose and developed, watch the following video:

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