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Socialist realism

Socialist realism is a style of realistic art which was developed in the Soviet Union and became a dominant style in other communist countries Socialist realism is a teleologically-oriented style having its purpose the furtherance of the goals of socialism and communism Although related, it should not be confused with social realism, a type of art that realistically depicts subjects of social concern Unlike social realism, Socialist realism often glorifies the roles of the poorIn conjunction with the Socialist Classical style of architecture, Socialist realism was the officially approved type of art in the Soviet Union for nearly sixty years All material goods and means of production belonged to the community as a whole; this included means of producing art, which were also seen as powerful propaganda tools During the October Revolution of 1917, the Bolsheviks established an institution called Proletkult (the Proletarian Cultural and Enlightenment Organizations) which sought to put all arts into the service of the dictatorship of the proletariatIn the early years of the Soviet Union, Russian and Soviet artists embraced a wide variety of art forms under the auspices of Proletkult Revolutionary politics and radical non-traditional art forms were seen as complementary In art, Constructivism flourished In poetry, the nontraditional and the avant-garde were often praisedThis, however, was rejected by some members of the Communist party, who did not appreciate modern styles such as Impressionism and Cubism, since these movements existed before the revolution and were thus associated with "decadent bourgeois art" Socialist realism was, to some extent, a reaction against the adoption of these "decadent" styles It was thought that the non-representative forms of art were not understood by the proletariat and could therefore not be used by the state for propaganda Alexander Bogdanov argued that the radical reformation of society to Communist principles meant little if any bouregeois art would prove useful; some of his more radical followers advocated the destruction of libraries and museums[1] Lenin rejected this philosophy,[2] and deplored the rejection of beautiful because it was old, and explicitly described art as needing to call on its heritage: "Proletarian culture must be the logical development of the store of knowledge mankind has accumulated under the yoke of capitalist, landowner, and bureaucratic society"[3] Modern art styles appeared to refuse to draw upon this heritage, thus clashing with the long realist tradition in Russia and rendering the art scene complex[4] Even in Lenin's time, a cultural bureaucracy began to restrain art to fit propaganda purposes[5]Socialist realism became state policy in 1932 when Soviet leader Joseph Stalin promulgated the decree "On the Reconstruction of Literary and Art Organizations" Accordingly, the Moscow and Leningrad Union of Artists was established in 1932, which brought the history of post-revolutionary art to a close The epoch of Soviet art began[6] In Leningrad well-known artist and art teacher Kuzma Petrov-Vodkin was elected the first president of the Union of Artists This choice laid down the foundation of the lasting development of the Leningrad Union of Artists and Academy of Arts as a unified creative body In 1931-2, the early emphasis on the "little man" and the anonymous laboring masses gave way to the "hero of labor", derived from the people but set apart by the scale of his deeds[7] Writers were explicitly enjoined to develop "heroization"[7] This reflected a call for romantic art, which reflected the ideal rather than the realistic[8] Furthermore, it should show one clear and unambiguous meaning[9]The first exhibition organized by the Leningrad Union of Artists took place in 1935 Its participants Piotr Buchkin, Rudolf Frentz, Alexander Samokhvalov, Isaak Brodsky, Kuzma Petrov-Vodkin, Kazimir Malevich, Nikolai Dormidontov, Mikhail Avilov among them became the founding fathers of the Leningrad school while their works formed one of its richest layers and the basis of the largest museum collections of Soviet painting of the 1930-1950sIn 1932, the Leningrad Institute of Proletarian Visual Arts was transformed into the Institute of Painting, Sculpture and Architecture (since 1944 named Ilya Repin) The 15-year period of constant reformation of the country's largest art institute came to an end Thus, basic elements of the Leningrad school namely, a higher art education establishment of a new type and a unified professional union of Leningrad artists, were created by the end of 1932 In 1934 Isaak Brodsky, a disciple of Ilya Repin was appointed director of the National Academy of Arts and the Leningrad Institute of Painting, Sculpture and Architecture Brodsky invited distinguished painters and pedagogues to teach at the Academy, namely Konstantin Yuon, Pavel Naumov, Boris Ioganson, Semion Abugov, Pavel Shillingovsky, Dmitry Kardovsky, Alexander Osmerkin, Nikolai Radlov, Yevgeny Lansere, Alexander Lubimov, Rudolf Frentz, Nikolai Petrov, Victor Sinaisky, Vasily Shukhaev, Dmitry Kiplik, Nikolai Punin, Vasily Meshkov, Mikhail Bernshtein, Efim Cheptsov, Ivan Bilibin, Matvey Manizer, Piotr Buchkin, Anna Ostroumova-Lebedeva, Alexander Karev, Leonid Ovsyannikov, Sergei Priselkov, Ivan Stepashkin, Konstantin Rudakov and others

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Art exhibitions of 19351940 disprove the claims that artistic life of the period was suppressed by the ideology and artists submitted entirely to what was then called social order A great number of landscapes, portraits, genre paintings exhibited at the time pursued purely technical purposes and were thus ostensibly free from any ideology Genre painting was also approached in a similar way


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Socialist realism - Oil Paintings Art Gallery Maria D'Adam