Socrealizm i realizm:
Saved in:
| Format: | Book |
|---|---|
| Language: | Russian |
| Published: |
Moskva
"Galart"
2007
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Abstract |
| Item Description: | In kyrill. Schr., russ. - Zsfassung in engl. Sprache u.d.T.: Socialist realism and realism |
| Physical Description: | 271 S. überw. Ill. |
| ISBN: | 9785269010519 |
Staff View
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| adam_text | и РЕАЛИЗМ
ЧАСТЬ ПЕРВАЯ
Социалистический редлизм и редлизм
часть вторая Русские «редлизмы» в культуре
Русский импрессионизм в советской действительности
ƒ
После выставки. Еще раз о русском импрессионизме
О живом феномене реализма
«Неужели КТО-ТО ВСПОМНИЛ, ЧТО МЫ бЫЛИ...»
A.B.
Что в русских традициях?
приложение М. Буланова. Музей русского искусства г. Миннеаполиса (США)
Перечень иллюстраций
Resume
ППЦРЕДЛИЇМ
RESUME
Socialist Realism and Realism
Alexander Morozov
In recent years we have seen a rising public interest, both in Russia and abroad, in the
fine arts, particularly those of the XX century, including the Soviet period. That brings to the forth the involved
problem of qualitative differentiation between the pertinent art practices since we find a wide-spread failure
to understand the heterogeneous nature of various trends emerging and evolving then in figurative repre¬
sentational arts in the context of Russian culture.
Characteristic of the Soviet period was, above all, the deep discrepancy between the realistic form of the offi¬
cial art engaged by the Bolshevik power and such forms of realism that developed in intrinsic opposition to
that power being prompted by the spiritual impulses of the artist. That initial polarization, though evident
enough in the
terms describing «Soviet art» as «socialist realism» or just «realism» interchanging those definitions. As a result,
neither term has a clear content, just meaning vaguely that the artist operates in forms «looking like nature».
In consequence that hampers discerning the qualitative distinctions in tastes, methods of visual-plastic for¬
mation, aesthetic preferences, mentality, philosophic and value orientation that actually existed in the art cul¬
ture of Soviet time. That concerns not only the major contrast between two «global domains» of avant-garde
and realism, but also variations within each of them. And whereas the avant-garde has been subjected to
thorough critical analysis, that has not yet been done in the realm of realism or, rather, in its many provinces.
In this book the author takes a step in this direction.
In principle the author proceeds from the scholarly aesthetic point of view on what s called «realism»
question of creative philosophy. That is the universal approach of the creative mind towards the objectively
given natural world around us as the main object of cognition and the source of visual forms in which it is
expressed. The logically alternative principle is what s called «abstraction», that is the artist s escape from
nature, from the surrounding world, in his choice of spiritual and formative priorities. The two mental princi¬
ples are equally rooted in human nature. As amply witnessed by art history, both stances of the artistic mind
are capable of producing, and actually produced, certain valid, though different, stylistic modifications.
Thus, one of the trends based on the realist tradition of Russian art of the XlX-early XX centuries emerged in
the Soviet context under the name of «socialist realism». The state power viewed and used it as an instru-
271
RESUME
ment
historical experience of the European courtly (imperial) art schools. The distinctive features
style» of socialist realism in the USSR of the
With that, the author points out the limits of the all-powerful bolshevist ideology in the state ruled succes¬
sively by Stalin, Khruschov, and Brezhnev. The historical reality was that next to the orthodox mentality,
dramatic conflict with it, there existed independent spiritual trends within Soviet culture. It is an accepted
opinion that in the realm of art they could only be found among the late avant-garde trends, but that is not
quite so. In fact, also opposed to the official «socialist realism» were genuine realist impulses with their own
story of development. That fact remains to this day insufficiently understood by the critics.
The analysis of the realist Russian art of the Soviet period points to four main specific vectors in its evolution.
The first of them was rooted in the realist tradition of the peredvizhniki (Traveling Exhibitions Society) of the
XIX
the turn of the XIX-XX centuries. The third was Russian Cezannism that ripened in the
what might be called «realism after avant-garde» based on the new Soviet art schools of VHUTEMAS and
VHUTEIN in the early
ism», and the creative contributions of their leading masters are discussed in Part I of the book.
Under the circumstances of Soviet art life the above trends, born as early as in the first third of the XX centu¬
ry, kept their creative actuality for several subsequent decades. The specifics of their evolution in the context
of the XX century s culture are treated in Part II of the book containing articles and reviews of exhibitions of
Soviet Russian art prepared with the participation of the author («Ways of Russian Impressionism»,
Tretyakov Gallery, Moscow; «In Russian Tradition»,
course of debates on relevant problems. The supplement to the book is the article by Maria
unique collection of the TMORA Museum of Russian Art in Minneapolis, USA, possessing works by many artists
mentioned in the preceding chapters.
|
| adam_txt |
и РЕАЛИЗМ
ЧАСТЬ ПЕРВАЯ
Социалистический редлизм и редлизм
часть вторая Русские «редлизмы» в культуре
Русский импрессионизм в советской действительности
ƒ
После выставки. Еще раз о русском импрессионизме
О живом феномене реализма
«Неужели КТО-ТО ВСПОМНИЛ, ЧТО МЫ бЫЛИ.»
A.B.
Что в русских традициях?
приложение М. Буланова. Музей русского искусства г. Миннеаполиса (США)
Перечень иллюстраций
Resume
ППЦРЕДЛИЇМ
RESUME
Socialist Realism and Realism
Alexander Morozov
In recent years we have seen a rising public interest, both in Russia and abroad, in the
fine arts, particularly those of the XX century, including the Soviet period. That brings to the forth the involved
problem of qualitative differentiation between the pertinent art practices since we find a wide-spread failure
to understand the heterogeneous nature of various trends emerging and evolving then in figurative repre¬
sentational arts in the context of Russian culture.
Characteristic of the Soviet period was, above all, the deep discrepancy between the realistic form of the offi¬
cial art engaged by the Bolshevik power and such forms of realism that developed in intrinsic opposition to
that power being prompted by the spiritual impulses of the artist. That initial polarization, though evident
enough in the
terms describing «Soviet art» as «socialist realism» or just «realism» interchanging those definitions. As a result,
neither term has a clear content, just meaning vaguely that the artist operates in forms «looking like nature».
In consequence that hampers discerning the qualitative distinctions in tastes, methods of visual-plastic for¬
mation, aesthetic preferences, mentality, philosophic and value orientation that actually existed in the art cul¬
ture of Soviet time. That concerns not only the major contrast between two «global domains» of avant-garde
and realism, but also variations within each of them. And whereas the avant-garde has been subjected to
thorough critical analysis, that has not yet been done in the realm of realism or, rather, in its many provinces.
In this book the author takes a step in this direction.
In principle the author proceeds from the scholarly aesthetic point of view on what's called «realism»
question of creative philosophy. That is the universal approach of the creative mind towards the objectively
given natural world around us as the main object of cognition and the source of visual forms in which it is
expressed. The logically alternative principle is what's called «abstraction», that is the artist's escape from
nature, from the surrounding world, in his choice of spiritual and formative priorities. The two mental princi¬
ples are equally rooted in human nature. As amply witnessed by art history, both stances of the artistic mind
are capable of producing, and actually produced, certain valid, though different, stylistic modifications.
Thus, one of the trends based on the realist tradition of Russian art of the XlX-early XX centuries emerged in
the Soviet context under the name of «socialist realism». The state power viewed and used it as an instru-
271
RESUME
ment
historical experience of the European courtly (imperial) art schools. The distinctive features
style» of socialist realism in the USSR of the
With that, the author points out the limits of the all-powerful bolshevist ideology in the state ruled succes¬
sively by Stalin, Khruschov, and Brezhnev. The historical reality was that next to the orthodox mentality,
dramatic conflict with it, there existed independent spiritual trends within Soviet culture. It is an accepted
opinion that in the realm of art they could only be found among the late avant-garde trends, but that is not
quite so. In fact, also opposed to the official «socialist realism» were genuine realist impulses with their own
story of development. That fact remains to this day insufficiently understood by the critics.
The analysis of the realist Russian art of the Soviet period points to four main specific vectors in its evolution.
The first of them was rooted in the realist tradition of the peredvizhniki (Traveling Exhibitions Society) of the
XIX
the turn of the XIX-XX centuries. The third was Russian Cezannism that ripened in the
what might be called «realism after avant-garde» based on the new Soviet art schools of VHUTEMAS and
VHUTEIN in the early
ism», and the creative contributions of their leading masters are discussed in Part I of the book.
Under the circumstances of Soviet art life the above trends, born as early as in the first third of the XX centu¬
ry, kept their creative actuality for several subsequent decades. The specifics of their evolution in the context
of the XX century's culture are treated in Part II of the book containing articles and reviews of exhibitions of
Soviet Russian art prepared with the participation of the author («Ways of Russian Impressionism»,
Tretyakov Gallery, Moscow; «In Russian Tradition»,
course of debates on relevant problems. The supplement to the book is the article by Maria
unique collection of the TMORA Museum of Russian Art in Minneapolis, USA, possessing works by many artists
mentioned in the preceding chapters. |
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| spelling | Socrealizm i realizm A. I. Morozov [tekst i sost.] Moskva "Galart" 2007 271 S. überw. Ill. txt rdacontent sti rdacontent n rdamedia nc rdacarrier In kyrill. Schr., russ. - Zsfassung in engl. Sprache u.d.T.: Socialist realism and realism Geschichte 1900-2000 gnd rswk-swf Malerei (DE-588)4037220-0 gnd rswk-swf Realismus (DE-588)4048680-1 gnd rswk-swf Sozialistischer Realismus (DE-588)4055848-4 gnd rswk-swf Russland (DE-588)4076899-5 gnd rswk-swf Sowjetunion (DE-588)4077548-3 gnd rswk-swf Sowjetunion Geschichte 1900-1989 Sowjetunion (DE-588)4077548-3 g Malerei (DE-588)4037220-0 s Realismus (DE-588)4048680-1 s Sozialistischer Realismus (DE-588)4055848-4 s DE-604 Russland (DE-588)4076899-5 g Geschichte 1900-2000 z Morozov, Aleksandr I. Sonstige oth Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015700169&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015700169&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Socrealizm i realizm Malerei (DE-588)4037220-0 gnd Realismus (DE-588)4048680-1 gnd Sozialistischer Realismus (DE-588)4055848-4 gnd |
| subject_GND | (DE-588)4037220-0 (DE-588)4048680-1 (DE-588)4055848-4 (DE-588)4076899-5 (DE-588)4077548-3 |
| title | Socrealizm i realizm |
| title_auth | Socrealizm i realizm |
| title_exact_search | Socrealizm i realizm |
| title_exact_search_txtP | Socrealizm i realizm |
| title_full | Socrealizm i realizm A. I. Morozov [tekst i sost.] |
| title_fullStr | Socrealizm i realizm A. I. Morozov [tekst i sost.] |
| title_full_unstemmed | Socrealizm i realizm A. I. Morozov [tekst i sost.] |
| title_short | Socrealizm i realizm |
| title_sort | socrealizm i realizm |
| topic | Malerei (DE-588)4037220-0 gnd Realismus (DE-588)4048680-1 gnd Sozialistischer Realismus (DE-588)4055848-4 gnd |
| topic_facet | Malerei Realismus Sozialistischer Realismus Russland Sowjetunion |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015700169&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015700169&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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