Săjuz na Družestvata na Chudožnicite v Bălgarija: predistorija, organizacija i dejnost ; 1919 - 1945
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Za Bukvite - o Pismenech
2012
|
| Ausgabe: | 1. izd. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: Union of the Societies of Artists of Bulgaria. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache |
| Beschreibung: | 269 S. Ill. |
| ISBN: | 9789542946205 |
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Datensatz im Suchindex
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СЪДЪРЖАНИЕ
. CONTENTS
СЪДЪРЖАНИЕ
УВОД
.9
ПЪРВИ СДРУЖЕНИЯ НА БЪЛГАРСКИТЕ ХУДОЖНИЦИ
.21
ОПИТИ ЗА ОБЕДИНЕНИЕ СРЕД ТВОРЦИТЕ НА ИЗОБРАЗИТЕЛНОТО
ИЗКУСТВО В БЪЛГАРИЯ
1919-1931
1.
Основаване
на нови художнически
сдружения.
Организационна структура и взаимоотношения
между дружествата
.43
2.
Първи конкретни стъпки за обединение на художническите
дружества
.72
СЪЮЗ НА ДРУЖЕСТВАТА НА ХУДОЖНИЦИТЕ В БЪЛГАРИЯ
-
ОБРАЗУВАНЕ, ОРГАНИЗАЦИОННА СТРУКТУРА И ДЕЙНОСТ
1931-1939
1.
Културният живот в началото на 30-те години на ХХ-и
век и художествената интелигенция
.85
2.
Образуване и организационна структура на СДХБ
.92
3.
Общите художествени изложби
1931-1939
г
.103
4.
Изложби в страната. Дружествени и колективни изложби.
1931-1939
г
.110
5.
СДХБ и изявите на българското изобразително изкуство
в чужбина. Гостуващи чуждестранни изложби
1931-1939
г.
122
6.
СДХБ и държавната културна политика
1934-1939
г
.134
СДХБ В ГОДИНИТЕ НА ВТОРАТА СВЕТОВНА ВОЙНА
1.
Изложбена дейност и международни контакти
до
9-й
септември
1944
г
.163
2.
СДХБ и проблемът
с
регламентацията на конкурсната
система
.172
3.
Дейност на СДХБ от
1941 -
до
9-й
септември
1944
г. и
държавната културна политика за „Обединена България"
.181
Съюз на дружествата на художниците в България
4.
Новата държавна културна политика след
9-й
септември
1944
г. и
промените в организационната
структура на СДХБ
.190
5.
Деветнадесета Обща художествена изложба и Петнадесети
редовен конгрес на СДХБ
.206
ЗАКЛЮЧЕНИЕ
.212
БИБЛИОГРАФИЯ
.215
ПРИЛОЖЕНИЯ
Организационна структура на СДХБ
.227
Списък на членовете-основатели на СДХБ според
Учредителния протокол от
21
ноември
1931
г
.228
Ръководства на СДХБ избирани на Съюзните конгреси
.229
Председатели на СДХБ
.237
Пристьствен списък за
VIти
конгрес на СДХБ
-
28-30
ноември
1937
г
.241
СПИСЪК НА СЪКРАЩЕНИЯТА
.244
ИМЕНЕН ПОКАЗАЛЕЦ
.245
РЕЗЮМЕ НА АНГЛИЙСКИ ЕЗИК
.254
Union
of the Societies of Artists of Bulgaria
Union of the Societies of Artists of Bulgaria.
Background, organization and activities
-
1919-1945
Sofía Vassileva
SUMMARY
The present study is a thesis, successfully defended in
2002.
An
entire decade went by between its writing and publishing. Therefore
the positive (in a research aspect) conclusion can be made that the
legacy of previous periods momentum of examining the cultural
history of Bulgaria chronologically, shredded by ruling parties,
coalitions and governments has been overcome. At the same time,
after decades of neglect and occasional or one-sided presentation, the
cultural issues of the period between the two world wars, fine arts in
particular, started to become an attractive interdisciplinary research
field, not only for art experts, but for culturologists, historians,
philosophers and other specialists.
The object of this monograph is the Union of the Societies of
Artists of Bulgaria (USAB)
-
one of the largest professional, cultural
and educational organizations of Bulgarian artistic intellectuals with a
tangible presence and influence in cultural life in the first half of the
20th century. It represents the final stage of the gradual unification
processes among artists, that started at the end of the 19th century
and it accounted for many of the performances of Bulgarian fine art in
the period
1931-1944.
Three major aspects in the activity of USAB can be outlined.
Organizing exhibitions and conducting competitions where the union
seeks to establish itself as socially significant organization and evoke
the systematic support of the state and its cultural institutions. The
increasing interest in the General Art Exhibitions, the numerous
international events, the active participation in the union leaderships
of talented artists that have acquired high profile public popularity,
give USAB an opportunity to uphold clearly defined and well-grounded
254
SUMMARY
positions on the state cultural policy in the field of fine arts.The Union
is trying to conduct social policy as well in order to provide for its
members and with the aim to compensate as far as possible the risks
of a „free-lance job" like the job of the artist.
From
1931
to
1944
Presidents of the Union were: Sirak Skitnik
(1931),
Ivan
Lazárov
(1932),
Ivan Penkov
(1933),
Alexander Andreev
(1934; 1937-1938),
Dechko Uzunov
(1939),
Alexander Milenkov
(1940
andl941), Raiko Alexiev
(1935-1936, 1942-1944).
After the
9
September
coup d'état
in
1944,
the contribution of
USAB to the development of Bulgarian art was not recognized, mainly
due to the fact that the construction of a new state and political
system started in Bulgaria, following closely in the steps of the Soviet
one. The cultural policy of the new government was part of that
system. Propagandizing the new ideology and imposing class-party
criteria initially went through a period of complete negation of all
institutions and organizations, of their leaders who carried out the
state cultural policy in the period between the two world wars,
especially during the Second World War. A lot of prominent Bulgarian
scientists and cultural figures were repressed.
Some of them were physically liquidated, as was the long time
president of USAB and chief editor of Shturets newspaper
-
cartoonist
Rayko Alexiev. The Union of Societies of Artists went through dramatic
structural, organizational and ideological changes and at the end of
1945
officially ceased to exist as a federative cultural and professional
organization.
The basic highlights in the history and activities of USAB,
outlined in the study, determine the specific objectives of this
monograph
-
to present the organizational and institutional aspects of
artistic life in Bulgaria in the period
1919-1945.
On the one hand
-
to
outline the stages in the unification processes among artistic
organizations and clarify the questions about the formation and
organizational structure of USAB. On the other hand
-
to examine the
main activities of the Union in the cultural context of the
1930s,
representing a very important stage in the development of Bulgarian
pictorial art in the twentieth century.
In this sense, the main tasks of this study are: to present the
exhibition activity and international contacts of the Union; to seek and
highlight its place among the numerous cultural, educational and
professional organizations; to clarify the involvement of USAB in the
state cultural policy
-
legislative initiatives, relationships with
government institutions, regulating the selection system for
255
Union
of the Societies of Artists of Bulgaria
monuments and historical paintings, to present views and
contributions of leading personalities in management and the
organizational structure of USAB
-
Sirak Skitnik, Prof. Ivan
Lazárov,
Raiko Alexiev, Alexander Zhendov.
Research interest in the subject is enhanced by the distinctive
characteristics of the period between the two world wars and during
the Second World War when, generally speaking, the positions of
intellectuals and society in terms of directions and prospects of
development, of value system, of the striving to preserve and highlight
the national identity while at the same time achieving comparability
with the then ongoing political, ideological and cultural processes in
Europe, were determined. Nowadays the creative works of Bulgarian
artists in the field of pictorial art, sculpture, drawing and cartoons
during that period are valued as an indisputable contribution to our
artistic and cultural heritage. The creation of a large part of these
works, however, was due not only to the talent, inspiration and
personal motivation of specific artists or to the initiatives of individual
governments and celebrities. In many cases it was the result of a
consistent state cultural policy. This determines the more general
goal of the monograph
-
in the light of USAB and on the background
of the general trends and prospects of development of cultural life, to
accentuate on the European influences in the development of art;
based on these positions to outline the priorities of the state policy in
the field of artistic heritage.
With regard to that constantly sought link between past,
continuity and the present, the monograph is attempting to answer
the question
-
What makes the issue of USAB meaningful and
relevant to this day? The limited market for artistic production, the
establishment of the state as the most secure and in many cases the
only patron of works of art was one of the main differences between
the conditions in which art was created in Bulgaria, and the
institutional and market mechanisms in the developed European
countries. Reviewed and assessed in this aspect, the activity of
professional, cultural and educational organizations like USAB
actually helped the development and survival of artists and talents,
the public promotion of the artistic production.
Sources. The main materials on the subject have been collected
from various sources. USAB does not have compactly preserved
archival records. What is preserved is scattered in various archives
and funds
-
in State Agency "Archives"
-
Directorate „Central State
Archives", Scientific Archive of the Bulgarian Academy of Sciences,
256
SUMMARY
Sofia, State Archives
-
Sofia, State Archives
-
Plovdiv, St. St. Cyril and
Methodius National Library and Ivan Vazov National Library in
Plovdiv.
The monograph uses as a source the Catalogues of the General
Art Exhibitions and the annual exhibitions of Artists Societies, as well
as catalogues of visiting foreign exhibitions. Much information is
drawn from the periodicals, especially ones concerning international
participation of USAB and presentations of foreign exhibitions in
Bulgaria. The citations used in the presentation contribute to the
creation of the authentic atmosphere of that era, the way USAB fits
into the general cultural reality in the 30s and early 40s of the 20th
century and the public response to a number of its initiatives.
In the preface of the monograph a synthesized historiographical
overview of pre-existing works, related to the history of Bulgarian
pictorial art of the period is made. The most prominent among these
are the publications of
Andrey Protich,
Nichola Mavrodinov,
Atañas
Bozhkov, Dimitar Avramov, Kiril Krastev,
Irina Mihalcheva, Vera
Dinova-Rousseva, Nikolai Trufeshev, Maximilian Kirov, Ruzha
Marinska, Nikolai Boshev,
Irina
Genova,
Tatyana Dimitrova. Some of
them deal with selected moments in organizational life and the
performances of artistic associations. A more detailed research has
been made of the period from the Liberation until the end of World
War I. The historiographical review that has been made provides an
opportunity to focus on the nature of the reasons, standing behind the
long period of distancing of Bulgarian scientists from a particular
presentation of the activities and contributions of USAB and the
individuals, elected to its governing bodies.
For a long period of time, Socialist Historiography did not deal
with the history of cultural and professional organizations. For nearly
three decades organized artistic life in the period between the two
world wars was subject to rejection and negative evaluations. In the
first years after 9th September
1944,
the efforts of historians and art
historians were directed primarily towards a new theoretical and
methodological basis, after the principles of Marxist-Leninist ideology.
A typical example illustrating some of the mechanisms of ideological
reorientation
of the artistic intellectual circles and the attempts to
impose a new scale of values, new artistic and aesthetic criteria was
the discussion on the pages of "Philosophical Thought' magazine in
1948-1950
on the subject 'On the question of our artistic heritage".
Clarifying the basic principles of „socialist realism"
-
„truthfullness",
„partyness", „nationality" and outlining the new ideological
257
Union
of the Societies of Artists of Bulgaria
perspectives and the ways artistic art should follow in its development,
was accompanied by denial of the contributing nature of European
influences in art from the previous period, and this was promoted as
„formalism", „aesthetic formalist", „harmful western", „decadent
bourgeois art". An integral part of this process was the denial of the
authority and influence of leading personalities in Bulgarian artistic
life of the previous period
-
Sirak Skitnik (a leading figure in
"Rodno
Izkustvo" (Native Art) association and first president of USAB), Rayko
Alexiev (cartoonist, editor, president of USAB
),
literary and art critics
Chavdar Mutafov, Yordan Badev and many others. Respectively, in
terms of organized artistic life in the 30s and the early 40s of the 20th
century, memoirs and publications with a strongly expressed memoir
character were given publicity for a very long period of time. At the
same time the scientific interest of historians and art historians was
concentrated around the Society of New Artists, which was again
related to clarifying the concept of „socialist realism". Some aspects of
the creation of USAB are partially treated and they illustrate the
contributions of "New Artists' to the establishment of the Union.
In the
1970s - 1980s
the art critic
Atañas
Bozhkov occupied a
leading position among those scientists dealing with the history of
Bulgarian art. In his fundamental work "Bulgarskata istoricheska
zhivopis"
/
„Bulgarian Historical Paintings" (Part
2, 1978),
as well as
in articles exploring the history of the Art Academy, he considered
some questions about the activities of USAB in connection with
competitions for historical paintings. In an original way particular
moments in the history of Bulgarian art until World War I, were
interwoven in
Irina
Mihalcheva's books
'
"Portrait Painting in
Bulgarian Art from
1918
to the Present Day", (Part
2, 1968)
and
Баѕк
Ideological and Artistic Trends in Bulgarian Painting in the Period
1900
to
1918" (1978).
Dimitar Avramov's publications, particularly his
study The Master and His Time'
(1989),
dedicated to one of Bulgaria's
most prominent artists Vladimir
Dimitrov
-
the Master, contributed
greatly to the development of Native Art movement and the association
of artists, founded in the early
1920s.
Valuable evidence about the artistic life in the country between
the two world wars can be traced in the published memoirs of artists
and art critics like Cyril Tsonev, Nikola Tanev, Kiril Krastev, Tsanko
Lavrenov. They carry the authentic atmosphere and ideological
sentiments that existed in the artistic intellectuals' circles.
Unfortunately though, the activities and role of USAB are hardly
mentioned there.
258
SUMMARY
The period covering the years of World War II is almost fully
excluded in the monographs of some artists, as well as in the review
albums for cartoons, graphics and posters. In many cases particular
keyfigures, occupying leading positions in USAB, like Ivan
Lazárov,
Alexander Zhendov and even entire associations, such as The New
Artists' are outlined in the context of the particular situation and time
and their positions and attitudes are presented as absolute,
determining the foundations of the union policy's nature.
After
1989,
issues of the cultural development of the
contemporary Bulgarian state in the period between the two world
wars gradually started to turn into a serious field of research.
Successful attempts were made to include these issues in the overall
context of the social and political life in the country. The interest of
researchers was drawn to the need for detailed and thorough
monitoring of the activities of various cultural institutions, of
numerous cultural, educational and professional organizations as well
as to the impact they had in their capacity of a liaison between the
state and the intellectuals, between the cultural policy of the state and
the needs for free creative working force. In
1996
one of the first
attempts at surveying the trends in artistic life in the eventful decade
of the
1930s
was made in Vol.1 of "Problems of Art'.
In recent years scientific research has been directed to clarifying
the issue of 'modernism' and 'modern art' in terms of Bulgarian fine
arts, art institutions and views and the creative works of prominent
personalities.
Irina
Genova
and Tatyana Dimitrova occupy leading
positions in the group of scientists dealing with these problems.
Unlike the period
1919 - 1944,
after 9th September
1944
the
role of professional and creative organizations as an element of the
new state policy has been the focus of serious scientific research for a
long period of time. Vessela Chichovska,
Ani Zlateva,
Evgenia
Kalinova
are the researchers that occupy major place among those, exploring
that subject matter in the field of fine arts.
The historiographical survey that has been carried out indicates
that USAB has not been the subject of an independent scientific
research that would contribute to summarizing the overall presence of
the professional organizations of artists in the Bulgarian cultural and
social life in the first half of the twentieth century and to outlining the
priorities of Bulgarian state policy in artistic heritage.
259
Union
of the Societies of Artists of Bulgaria
Structure and chronological boundaries of the monograph.
One of the fundamental principles determining both the
structure and the lower chronological boundary of the monograph is
that the overall organization of artists was constituted on the basis of
a federative principle of associations-members which retained their
relative independence. Founding members of the USAB were six
artistic associations that appeared at different times following the
complicated path of Bulgarian fine art, fraught with many difficulties
and contradictions. For a brief period shortly after the liberation from
the Ottoman rule "Society for Supporting the Arts in Bulgaria"
(1893),
„Contemporary Art Society"
(1904)
and a "Society of South Bulgarian
Artists" (Plovdiv
1912)
were founded.
After World War I the "Native Art Society"
(1919),
"Society of
Independent Artists"
(1920)
and „New Artists Society"
(1931)
appeared
in the organizational structure of artistic life in the country. They all
had different ideological and aesthetic platforms but similar
aspirations for popularity and social realization. Association events
and organized association life were not interrupted by the
establishment of USAB. Therefore, the history of USAB should not be
considered separately and independently from the activities of
individual founding associations. For that reason and throughout the
entire course of the presentation, the relationships between artistic
associations as well as the stages in the ongoing unification processes
occurring among them are presented. The ultimate chronological
boundary of the monograph coincides with the 15th regular congress
of USAB that took place at the end of
1945.
The decisions of that
congress legitimized the serious structural, organizational and
ideological changes in the General Union. Practically, USAB ceased to
exist as a federal, cultural and professional organization.
Introduction: First Societies of Bulgarian Artists.
An overview of the first manifestations of organized artistic life in
Bulgaria in the period
1892 - 1919
has been made. These
manifestations were carried out by "The Society for Supporting Art in
Bulgaria", „Contemporary Art" society and the society of "South
Bulgarian Artists". As a result some general tendencies have been
outlined that affected the organizational structure and manifestations
of artistic activity in our country in the period between the Liberation
and to the early
1930s.
1.
Europeanization of the country took place at an accelerated
rate, which did not correspond to the backward economic
260
SUMMARY
development, the social structure of Bulgarian society and the
national traditions that hardly changed. Actually, only a small group
of intellectuals demonstrated any interest in fine arts and the new
plastic culture. Thus, despite their efforts to popularize specific
ideological and aesthetic as well as artistic views, artistic associations
could not expect any active public assistance and support. Therefore,
each and every artistic association strived to secure support from the
state authorities and the Ministry of Popular Enlightenment.
2.
Another persistent trend seemed to be the ideological duality
of Bulgarian intellectuals between „foreign" and „native", between
national ideals and traditions and the achievements of modern
European world in their quest to establish a national artistic style.
3.
Little interest in artistic events, displayed by the government
and the cultural institutions is characteristic of the period. The issues
of pictorial art are usually considered only in general terms within the
framework of the comprehensive system of education.
4.
Very few artists could make a living relying on their own art
only, without doing another job or without help from government
institutions. The instability of the artists and their insufficient
material provision in Bulgarian society gradually started to turn into a
permanent feature of their social status.
5.
The attention of the state and the public could not be engaged
permanently on creative activities with the individual efforts of
particular artists and cultural figures only, not even with the
deliberate but uncoordinated actions of individual associations.
Chapter One: Attempts for Unification among the Bulgarian
Artists. The first chapter analyzes the prerequisites for the unification
of Bulgarian Artists on the background of the general cultural
situation in the country after World War I. Attention has been paid to
the contribution and participation of Bulgarian artists in founding one
of the largest and most active alliances of cultural, educational and
professional intellectuals
-
The Homes of Arts
(Domove na
izkustvata).
One of the highlights in the exposition is clarifying the issue
-
what
makes individual companies leave their ideological and aesthetic
principles and differences tasMnd and try to find a solution in
unification based on professional principles?
Other emphases are placed on the similarities in the
organizational structure of the six art societies and their ideological
and aesthetic concepts that do not allow them to be differentiated as
separate schools. The social aspects of public life and state cultural
policy are highlighted parallel to this. In this chapter priority attention
261
Union
of the Societies of Artists of Bulgaria
is devoted to the specific steps in building a Common Artistic Union
from
1924
to
1931
and to the different stages in its development.
The following conclusions have been made in the course of this
exposition:
1.
In organizational terms, during the wars and especially in the
final stage of World War I, an increasing desire for unification was
observed among the cultural, educational and professional
organizations of Bulgarian intellectuals. The successive unifying
processes in Bulgarian artistic life continued in the
1920s
decade as
part of the general tendency towards unification of creative people
from different fields of art.
2.
Postwar realities forced Bulgarian governments to face an
unresolved national issue, a national unification that had not been
accomplished and a revision of the Neuilly Treaty. Initially though, due
to the unsteady situation in the country, the official government policy
was unable to defend these positions openly. Therefore, during this
period and to some extent, the functions for preserving and recreating
the national concepts, values and ideals into art, were performed by
the cultural, educational and professional organizations of
intellectuals.
3.
Initially, with artists, these unifying tendencies characteristic
for similar cultural and professional organizations were preceded by
an even greater disunity and the emergence of new associations.
Despite the hegemony of „Native Art" movement that was starting to
gain speed, two more societies emerged alongside the artistic
association with the same name
-
"Society of Independent Artists" and
"Society of North-Bulgarian Artists". The reasons for that may be
explained by the highly individual nature of artistic creation and the
fast changing pace of aesthetic influences that entered the country.
The interpersonal conflicts and regroupings, primarily caused by the
uncertain market for artistic production, were no less important. In
practice, however, individual associations began to compete mainly for
the scarce subsidies, granted by the state. This intolerant race
aggravated the relations between associations further on. As a result,
the unification process among artists was slow and complicated.
4.
First of all, the beginning of this process can be linked to the
establishment of a common fund for all societies called 'Showroom'
(1924).
It appeared as a result of the conscious need for intense
cultural life, seething in the capital and the bigger cities in the country
at that time. The artists' initiative was supported by the Palace and
the Ministry for Public Enlightenment, as well as by the National
262
SUMMARY
Archaeological Museum and the Bulgarian Archaeological Institute.
Chairmen of the 'Showroom' Committee were its directors Andrei
Protich and
Bogdan
Filov and secretaries
-
the sculptor Alexander
Andreev and the artist and art critic
-
Vassil Dimov.
5.
The next concrete step towards the creation of a General
Union of the societies of artists was the organization of the First
General Art Exhibition
(1927)
in which all societies took part as well
as the establishment of an Exhibition Committee, which was the first
permanent link between organizational entities.
Chapter Two: Union of the Societies of Artists of Bulgaria
-
establishment, organizational structure and activities
1931 - 1939.
The second chapter traces the relationship between USAB and
the government institutions and public organizations. Special
attention is paid to fundamental union activities
-
General art
exhibitions, the performances of Bulgarian art abroad, visiting foreign
exhibitions, corporate and group exhibitions and the competition
system. Parallel tracking of organized association and union life made
possible the presentation and highlighting of the contributions of
individual artistic associations and leading personalities in the
organization and management of USAB.
The chronological parameters of the exposition in chapter
2
cover the decade of the
1930s.
The lower limit
- 1931,
coincides with
the establishment of USAB, while the top one is forced by the extreme
conditions created with the outbreak of World War II. The
documentary information used in scientific circles suggests the
following conclusions:
1.
The question of establishing a Common union organization
was submitted for discussion among the members of „Native Art
Society" in the autumn of
1929.
The people who initiated it were the
chairman of the society Sirak Skitnik and Professor Ivan
Lazárov.
In
1930
the idea of an alliance was discussed in the other artistic
associations as well. Unification processes among the artists were
accelerated by the attempts to establish a "Union of New Artists"
(February
1931).
Among the initiators were Alexander Zhendov, Ivan
Funev and others. This idea could not be accomplished in its original
design. Instead of a union, a "New Artists Society" was founded. In the
autumn of that year, during the Fifth General Art Exhibition, six
associations took steps towards unification, based on a federative
principle. On November
21, 1931
the constituent meeting of USAB
took place. The founding members were: „Native Art", „Contemporary
Art", „Society of the Artists in Bulgaria", „Independent Artists", „South
263
Union
of the Societies of Artists of Bulgaria
Bulgarian Artists" and „New Artists". In the second half of thel930s,
during the several successive Congresses of the Union, the
associations of the applied artists, the "North Bulgarian Artists" and
the "Russian Artists" applied for membership in USAB. The desire to
belong to the common union organization was regulated in their
statutes. The union congresses, however, always presented formal
arguments for refusal and did not accept new members. This, in its
turn, indicates that competition between the associations continued to
exist within the union organization as well;
2.
As an organization based on a federative principle, the
influence of USAB was favourable first of all for exhibition activities.
Alongside the annual General art exhibitions, the tradition of
arranging societies' exhibitions was not terminated. The
1930s
decade
contrasted dramatically with the previous periods of organized artistic
life in Bulgaria, mainly in the greater variety and number of
exhibitions
-
collective, jubilee, independent, visiting, retrospective,
competition-themed and more. In the country, outside the capital, and
apart from Plovdiv, other artistic centers like Burgas, Varna,
Veliko
Tarnovo, Ruse,
Stara Zagora
and Sliven came into existence;
3.
In many cases, USAB cleverly managed to fit in the cultural
events, organized and used by the Bulgarian governments at that time
as a successful means for overcoming the international isolation that
the country found itself into after World War I and especially for
improving the relations with its neighbours. With a policy of neutrality
that government offices and King Boris III supported over the years
1934 - 1939,
good mutual relations with the Great Powers of the
emerging opposing military groups were established. To a large extent
this seemed to be a favourable prerequisite for the extremely active
international contacts of USAB during this period. Overseas collective
and solo exhibitions as well as visiting international exhibitions in the
country were organized. On this principle bilateral co-operation was
accomplished with the Czech Republic, Greece, France, Yugoslavia,
Germany, Croatia, Italy, Romania. Contacts with artistic groups,
cultural and educational organizations from abroad were established;
4.
Bulgarian art developed in a specific situation where lack of
patronage and flexible and diverse market of artistic production
respectively increased the role and responsibilities of general
professional and cultural organizations like USAB, acting as
connecting links and liaisons between state cultural policy and free
creative work. The Union leadership submitted proposals to the
Ministry of Public Education associated with updating the Law for
264
SUMMARY
encouragement of native literature and art, and the Law on Cultural
Heritage
(Zakon
za
Starinite). USAB contributed significantly to
passing the bills for the construction of monuments and the
accompanying regulations for the competitions. In
1935
USAB
initiated a bill for obligatory ornaments on state, municipal and public
buildings and subsequently helped it turn into a law. In
1936
a decree
law assigned USAB the exclusive right to issue weekly timetables for
pupils. USAB was one of the main partners of the Ministry of Public
Education in conducting the annual competitions for historical
painting. Together with Sofia municipality, regional country
municipalities, the General Directorate of Posts, Bulgarian State
Railways, the Export Institute and the Holy Synod, its representatives
participated in the organization and as members of the jury in a
number of other competitions
-
for monuments, posters, promotional
materials, painting and restoration of churches, official gifts to the
royal family, business and postal stamps. In
1942
a special statute-
book, regulating the procedure for purchase of paintings and
sculptures by the Ministry of Public Education was adopted.
According to it purchases were allowed only from general art
exhibitions arranged by USAB.
Chapter Three: The Union of the Societies of Artists of Bulgaria
during the Second World War.
The third chapter traces the activity of USAB in the years of
World War II. The initiatives and public appearances of USAB in the
prewar and war situation were strongly influenced by government
policy and the terms of artistic life were substantially altered. The
main emphases in the exhibition were placed on the ongoing conflicts
over the regulation of the selection system for large art objects of
public importance and the involvement of USAB in the implementation
of the state cultural policy following the concept of „United Bulgaria".
Immediately after the
9
September
coup d'état
in
1944
serious
disturbances and irreversible changes took place in organized artistic
life. Parallel to presenting the facts of these events, the main part of
the text makes an attempt at comparison with the war years before
9
September. The Fifteenth Regular Congress of USAB held in December
1945
is taken as a final point of the monograph. It was at this
Congress, by means of the newly adopted constitution of the
organization that legitimized all structural, organizational and
ideological changes that USAB practically ceased to exist as a federal
cultural and professional organization.
The documentary information put into scientific circulation
265
Union
of the Societies of Artists of Bulgaria
suggests the following conclusions:
1.
During the
1940s
the social, political and cultural life in the
country became more intense and dependent on World War II, which
had already broken. Military conditions imposed a new model of
creative collective and individual behavior. Professional art unions
faced a serious challenge to implement and adjust their performances
in accordance with the requirements of military time and according to
the laws, conditions and priorities raised by government policy. In the
organized artistic life serious turmoil took place. However, during the
period up to
9
September
1944
the management of USAB did not
betray the basic objectives of the Union's policy
-
to uphold the social
authority of the organization, to interact with government institutions
for the adoption of ordinances and regulations for participation in
government orders that promote pictorial art and artists.
2.
While in previous decades of the short history of
contemporary Bulgarian art the artist was relatively isolated and his
social development was confined mainly to the teaching profession,
during the early 40s the presence of artists in advertising, the
commercial and
rade area
became more and more perceivable.
3.
The status of USAB as a cultural, educational and
professional organization put its governing bodies in the responsible
situation of a mediator and in many cases
-
arbitrator between the
interests of its members and the interests of the institutions
-
art
commissioners. The competition system implied establishing
permanent and useful contacts with government institutions and
public organizations; it was a source of stable income for both the
Union and its members. The issue of regulation of the competition
system
-
secret and anonymous, accessible for all members or limited,
and open competitions
-
was discussed in detail in the four
consecutive Congresses of USAB. The records and published press
reviews reveal how the disputes related to the competition system
gradually acquired the air of a public dispute between notable and
respected sculptors of monumental monuments, e.g. Ivan
Lazárov,
Vassil Zidarov, Kiril Todorov on the one hand and the numerous and
not so famous artistic mass whose interests were defended by the
governance of USAB on the other. There is already an encounter here
of the different views and understandings regarding the establishment
of our national art culture, the achievement of maximum artistic
quality, the framework of creative personality. Conflicts about the
regulation of the competition system gave an opportunity for
delineating the spheres of influence inside and outside the artists'
266
SUMMARY
organization, the publicized facts and opinions, and penalties, created
occasions for confrontation between the already proven artists and the
relatively unknown artistic constituency.
4.
During the Second World War initiatives and public
manifestations of USAB became increasingly linked to national priority
tasks. Professional interests and the problem of creative personality
fell back before the vocation and contemplating of the artistic work
primarily as a „duty to the Fatherland." In organized competitions for
historical paintings the dominating theme focused on some of the
greatest moments of Bulgarian history, which aimed to raise national
confidence. Regardless of the imposed subjective criteria in terms of
themes, a lot of the compositions outlived the specific time and cause
for their occurrence and illustrate history textbooks, reference books
and encyclopedias to the present day.
5.
After Bulgaria entered World War II and with the signing of
the Tripartite Pact on
1st
March
1941,
a series of exceptional laws in
the field of culture were being adopted. One of their main goals was to
focus and synchronize the activities, performances and initiatives of
all organizations and associations in the sphere of culture
-
companies
and unions of Bulgarian writers, artists, musicians, scientists,
publicists, journalists and to turn them into exponents of the
government conception of a united Bulgarian state. During this period
USAB unfolded impressive activity for the revival and popularization of
Bulgarian culture in Macedonia and Eastern Thrace.
6.
The coup of 9th September
1944
caused serious changes in
organized artistic life. Despite the existence of a multiparty system,
the presence of the Allied Control Commission and the fact that
cultural ministries were guided by non-communists, state monopoly
gradually increased in the management of culture and continued the
processes of centralization of cultural life. Unlike the authoritarian
decade
1934-1944,
when the government sought to guide public
appearances predominantly and to control the activities of cultural,
educational and professional societies, the attention now was directed
mainly towards their organizational structures and members.
Immediately after 9th September, a process of reorganization of the
union structure started and it was entirely in line with the agreed
exceptional and restrictive regulations.
At the end of
1945
with decisions of the Fifteenth Regular
Congress of USAB the federative principle of membership was removed
and the organization was renamed the Union of Bulgarian Artists.
267
Union
of the Societies of Artists of Bulgaria
Appendix list:
The monograph contains four annexes. The organizational
structure of USAB is schematically presented in Appendix
1.
Appendix
2
lists companies and founding members of the USAB, according to
the Constitutive Protocol of November
21, 1931.
The management list
of USAB is presented in Appendix
3.
Annex
4
presents USAB
chairpeople, and Annex
5 -
6th Congress of the USAB
- 28-30
November
1937.
Conclusion:
The history of the Union of Societies of Artists of Bulgaria shows
that the processes taking place in the artistic field follow the general
course of the overall cultural and socio-political life. USAB managed to
establish itself as an authoritative professional organization of
Bulgarian artists in the dynamic atmosphere of the 30s and early 40s
of the twentieth century and the complex conditions of the conceptual
and artistic pluralism on the one hand and a centralized state cultural
policy on the other hand. USAB successfully fought to win for its
cause the cultural community and relevant government institutions
and in this respect it contributed largely not only to the development
of pictorial art in Bulgaria, but to our common cultural development
as well.
The majority of the period covered by the monograph
1932 -
till
September
9, 1944,
is characterized by extreme activity in the
development of art and diversity of artistic styles. The presentation of
the main union activities
-
General Art Exhibitions, performances of
Bulgarian art abroad and visiting foreign exhibitions, corporate
exhibitions, allow the emphasis to be put on the contribution of USAB
to the creation of a perceiving and interacting cultural environment in
Bulgaria that highlights its cultural identity at the same time.
Presenting the involvement of USAB in state cultural policy
-
legislative initiatives, relations with government institutions,
regulation of the selection system for cultural and historical paintings,
allowed the identification of the priorities of state policy in the field of
artistic heritage, the emphasizing of the mutual influence between
Bulgarian artistic tradition and practice and European trends and
practices in the development of art.
Printing this book was made possible with the support of the
National Science Fund at the Ministry of Education Youth and
Science. I am also grateful for the assistance of Prof. D.Sc Valeria
Fol,
268
SUMMARY
Director of the Institute for Research on Cultural and Historical
Heritage at the State University of Library Studies and Information
Technologies (SULSIT), Prof. D.Sc Chavdar Popov, Head of the
Department of Art Studies at the National Academy of Art, Evgenia
Kalinova
-
Professor of Contemporary History of Bulgaria, Department
„History of Bulgaria", Faculty of History at Sofia University „St.
Kliment Ohridski"
and
Boyana Cheshmedzhieva
from "Regional
Knowledge" Department of „Ivan Vazov" National Library in Plovdiv.
269 |
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| edition | 1. izd. |
| era | Geschichte 1919-1945 gnd |
| era_facet | Geschichte 1919-1945 |
| format | Thesis Book |
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| spelling | Vasileva, Sofija Verfasser (DE-588)1029688249 aut Săjuz na Družestvata na Chudožnicite v Bălgarija predistorija, organizacija i dejnost ; 1919 - 1945 Sofija Vasileva 1. izd. Sofija Za Bukvite - o Pismenech 2012 269 S. Ill. txt rdacontent n rdamedia nc rdacarrier PST: Union of the Societies of Artists of Bulgaria. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache Zugl.: Diss., 2002 Geschichte 1919-1945 gnd rswk-swf Kulturpolitik (DE-588)4033581-1 gnd rswk-swf Künstlerverband (DE-588)4197392-6 gnd rswk-swf Bulgarien (DE-588)4008866-2 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Bulgarien (DE-588)4008866-2 g Kulturpolitik (DE-588)4033581-1 s Künstlerverband (DE-588)4197392-6 s Geschichte 1919-1945 z DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025496649&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025496649&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Vasileva, Sofija Săjuz na Družestvata na Chudožnicite v Bălgarija predistorija, organizacija i dejnost ; 1919 - 1945 Kulturpolitik (DE-588)4033581-1 gnd Künstlerverband (DE-588)4197392-6 gnd |
| subject_GND | (DE-588)4033581-1 (DE-588)4197392-6 (DE-588)4008866-2 (DE-588)4113937-9 |
| title | Săjuz na Družestvata na Chudožnicite v Bălgarija predistorija, organizacija i dejnost ; 1919 - 1945 |
| title_auth | Săjuz na Družestvata na Chudožnicite v Bălgarija predistorija, organizacija i dejnost ; 1919 - 1945 |
| title_exact_search | Săjuz na Družestvata na Chudožnicite v Bălgarija predistorija, organizacija i dejnost ; 1919 - 1945 |
| title_full | Săjuz na Družestvata na Chudožnicite v Bălgarija predistorija, organizacija i dejnost ; 1919 - 1945 Sofija Vasileva |
| title_fullStr | Săjuz na Družestvata na Chudožnicite v Bălgarija predistorija, organizacija i dejnost ; 1919 - 1945 Sofija Vasileva |
| title_full_unstemmed | Săjuz na Družestvata na Chudožnicite v Bălgarija predistorija, organizacija i dejnost ; 1919 - 1945 Sofija Vasileva |
| title_short | Săjuz na Družestvata na Chudožnicite v Bălgarija |
| title_sort | sajuz na druzestvata na chudoznicite v balgarija predistorija organizacija i dejnost 1919 1945 |
| title_sub | predistorija, organizacija i dejnost ; 1919 - 1945 |
| topic | Kulturpolitik (DE-588)4033581-1 gnd Künstlerverband (DE-588)4197392-6 gnd |
| topic_facet | Kulturpolitik Künstlerverband Bulgarien Hochschulschrift |
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