A work of art from the 30s. Soviet painting - history of modern art

The plan of "monumental propaganda", adopted at the suggestion of V. I. Lenin, was the most striking expression of the general principles of the new art. Lenin saw the main goal of "monumental propaganda" in putting art at the service of the revolution, in educating the people in the spirit of the new, communist worldview.

Together with the abolition of some monuments that "glorified tsarism", it was ordered to mobilize artistic forces and organize a competition to develop designs for monuments in honor of the October Socialist Revolution.

Beginning in the autumn of 1918, the first works of “monumental propaganda” appeared on the streets of Petrograd, Moscow and other cities: monuments to Radishchev, Stepan Razin, Robespierre, Kalyaev, T. Shevchenko, and others.

Many sculptors representing various creative trends worked on the implementation of the plan - N. Andreev, S. Konenkov, A. Matveev, V. Mukhina, S. Merkurov, V. Sinaisky, architects L. Rudnev, I. Fomin, D. Osipov, V. Mayat. The ideas of the Leninist plan also influenced the wider field of monumental and decorative art - the festive decoration of cities, mass processions, etc. Prominent artists, including K. Petrov-Vodkin, took part in the design of the streets of Moscow and Petrograd on the days of the first anniversary of the October Revolution , B. Kustodiev, S. Gerasimov.

A characteristic feature of the visual arts of the era of the revolution and the civil war was the propaganda orientation, which determined the significance and place of its individual types. Along with monuments and memorial plaques, the poster became the mouthpiece of revolutionary ideas and slogans, speaking the language of allegory (A. Apsit), political satire (V. Denis) and then reaching its highest height in the classic works of D. Moor (“Did you sign up as a volunteer?”, “ Help").

Unsurpassed in its kind were also "ROSTA Windows" by V. Mayakovsky and M. Cheremnykh. The "telegraphic" language of these posters, deliberately simplified, was sharp and concise.

The art of the poster was closely related to political graphics, which were widely popularized by the magazines "Flame", "Krasnoarmeyets" and other periodicals. Revolutionary themes also penetrated into easel graphics (drawings by B. Kustodiev), especially into engravings on wood and linoleum. "Troops" by V. Falileev, "Armored car" and "Cruiser Aurora" by N. Kupreyanov are typical works of graphics of this time. They are characterized by intense contrasts of black and white manner, increasing the role of the silhouette.

The era of the revolution was also reflected in book illustrations (drawings by Yu. Annenkov for "The Twelve" by A. Blok, covers and bookmarks by S. Chekhonin), but this kind of art was more associated with new editions of classical literature, primarily the "People's Library ”(works by B. Kardovsky, E. Lansere and others).

In portrait graphics, sketches by V. I. Lenin made from nature (N. Altman, N. Andreev) were of particular value. A galaxy of great masters (A. Benois, M. Dobuzhinsky, A. Ostroumova-Lebedeva) developed landscape graphics.

The easel painting of the first post-revolutionary years, more than any other kind of art, experienced the pressure of the “left front”. The paintings "New Planet" by K. Yuon, "Bolshevik" by B. Kustodiev, etc. testified to the desire of their authors to reveal the historical meaning of what is happening. The allegory, characteristic of all Soviet art of the early period, penetrated even into landscape painting, giving rise to such a peculiar response to contemporary events as, for example, A. Rylov’s painting “In the Blue Space”.

Among other arts, architecture was in a special position, the possibilities of which in this period did not go beyond the design of new tasks.

20s

In the 20s. there were many different groups among Soviet artists: the Association of Artists of Revolutionary Russia, the Society of Easel Artists, the Society of Moscow Artists, the Society of Russian Sculptors, etc.

Despite the fact that Soviet art then had a transitional character, a common style was gradually developed in it. In painting, classical traditions, and especially the traditions of the Russian realistic school, acquire decisive importance. Artists are increasingly turning to the present. Together with the masters of the older generation, young painters also perform. For this time, the works of S. Malyutin, A. Arkhipov, G. Ryazhsky in the portrait genre, B. Ioganson in the everyday genre, M. Grekov, I. Brodsky, A. Gerasimov in the historical and revolutionary genre, A. Rylov, N. Krymov, B. Yakovlev - in landscape, etc. The artists who were grouped before the revolution around the journal "World of Art", former Cezannes, change their attitude to the environment, to the tasks of art. P. Konchalovsky, I. Mashkov, A. Kuprin are experiencing the flowering of their talent; the stylistic work of K. Petrov-Vodkin has recently been filled with real, vital content; a new approach to the problems of figurative expressiveness is reflected in the works of M. Saryan, S. Gerasimov and others. The innovative tendencies of Soviet painting were especially clearly manifested in the painting “Defense of Petrograd” by A. Deineka (1928).

Political caricature (B. Efimov, L. Brodaty and others) occupied a prominent place in the graphics. At the same time, the importance of book illustration, especially book woodcuts, is growing (A. Kravchenko, P. Pavlinov, and others). Its largest master, V. Favorsky, laid the foundation for a whole creative movement. The development of easel drawings made in charcoal, pencil, lithography or black watercolor was also successful (N. Kupreyanov, N. Ulyanov, G. Vereisky, M. Rodionov).

Sculpture of the 20s continued to follow the ideas of Lenin's plan of "monumental propaganda". The range of its tasks has noticeably expanded, portrait sculpture has achieved great success (A. Golubkina, V. Domogatsky, S. Lebedeva).

However, the main efforts of sculptors are still directed to the creation of monuments. Unlike the first plaster monuments, which were of a temporary nature, new monuments are being built from bronze and granite. These include monuments to V. I. Lenin at the Finland Station in Leningrad (V. Schuko, V. Gelfreich, S. Yeseev), on the dam of the Zemo-Avchal hydroelectric power station in Transcaucasia (I. Shadr) and in Petrozavodsk (M. Manizer).

Images of generalizing significance were created by A. Matveev (“October Revolution”), I. Shadr (“Cobblestone is the weapon of the proletariat”), V. Mukhina (“Wind”, “Peasant Woman”), who already at that time determined the face of Soviet sculpture with their work.

After the end of the civil war, conditions favorable for the development of architecture arose. Its primary, most pressing task was housing construction (complexes of residential buildings on Usacheva Street in Moscow, on Traktornaya Street in Leningrad, etc.). But very soon the architects focused their attention on urban problems, the construction of public ensembles, and industrial construction. A. Shchusev and I. Zholtovsky are developing the first plan for the reconstruction of Moscow. Under their leadership, the planning and construction of the All-Russian Agricultural Exhibition of 1923 is carried out. A. Shchusev creates the mausoleum of V. I. Lenin. Until the end of the 20s. according to the plans of Soviet architects, a number of buildings for various purposes were built (Izvestia house by G. Barkhin; State Bank of the USSR by I. Zholtovsky; Central Telegraph by I. Rerberg), industrial complexes (Volkhovskaya hydroelectric power station by O. Muntz, N. Gundobin and V. Pokrovsky ; Dnieper hydroelectric power station V. Vesnin), etc.

One of the important aspects of the creative activity of Soviet architects was the desire to develop new forms of architecture that correspond to new tasks, modern materials and construction technology.

30s

The successes of Soviet painting of these years are especially fully represented by a new stage in the work of M. Nesterov, in whose works (portraits of academician I. Pavlov, the Korin brothers, V. Mukhina, surgeon S. Yudin) the depth and relief of the image of human characters is combined with a broad general theme of creative work Soviet people. A high level of portrait painting is supported by P. Korin (portraits of A. Gorky, M. Nesterov), I. Grabar (portrait of his son, portrait of S. Chaplygin), P. Konchalovsky (portrait of V. Meyerhold, portrait of a Negro student), N. Ulyanov and others. The theme of the civil war was embodied in the painting by S. Gerasimov "The Oath of the Siberian Partisans." Kukryniksy (M. Kupriyanov, P. Krylov, N. Sokolov) also wrote “Old Masters” and “Morning of an Officer of the Tsarist Army” based on historical subjects. A. Deineka (“Mother”, “Future Pilots”, etc.) becomes an outstanding master of paintings on a modern theme. Yu. Pimenov ("New Moscow") and A. Plastov ("Collective farm herd") make an important step towards the development of the everyday genre.

The development of graphics in this period is associated primarily with book illustration. Masters of the older generation - S. Gerasimov ("The Artamonov Case" by M. Gorky), K. Rudakov (illustrations for the works of G. Maupassant), and young artists - D. Shmarinov ("Crime and Punishment" F . Dostoevsky, "Peter I" by A. Tolstoy), E. Kibrik ("Cola Breugnon" by R. Rolland, "The Legend of Ulenspiegel" by Charles de Coster), Kukryniksy ("The Life of Klim Samgin" by M. Gorky and others), A. Kanevsky (works by Saltykov-Shchedrin). The illustration of the Soviet children's book was noticeably developed (V. Lebedev, V. Konashevich, A. Pakhomov). A fundamentally important change compared to the previous period was that the Soviet masters of illustration switched (albeit somewhat one-sidedly) from the decorative design of the book to the disclosure of the ideological and artistic content of literary images, to the development of human characters and the dramaturgy of the action, expressed in a string of successive other images.

In book illustration, along with realistic drawing, watercolor, lithography, engraving also retains its importance, represented by the works of recognized masters such as V. Favorsky (“Vita Nuova” by Dante, “Hamlet” by Shakespeare), M. Pikov, A. Goncharov.

In the field of easel graphics, the portrait genre came to the fore at that time (G. Vereisky, M. Rodionov, A. Fonvizin).

A serious obstacle to the development of Soviet art in these years is the handicraft, the trend of false monumentality, splendor associated with Stalin's personality cult.

In the art of architecture, the most important tasks were solved in connection with the problems of urban planning and the construction of residential, administrative, theater and other buildings, as well as large industrial facilities (such as, for example, a car factory in Moscow, a meat processing plant in Leningrad, a heating plant in Gorky, etc. .). Among the architectural works, the House of the Council of Ministers in Moscow (A. Lengman), the Moscow Hotel (A. Shchusev, L. Savelyev, O. Stapran), the Theater of the Soviet Army in Moscow (K. Alabyan, V. Simbirtsev) are especially characteristic of these years. ), the Ordzhonikidze sanatorium in Kislovodsk (M. Ginzburg), the river station in Khimki (A. Rukhlyadyev), etc. The main aesthetic trend in the course of these works was the attraction to the traditional forms of classical order architecture. The uncritical use of such forms, their mechanical transfer to the present often led to unnecessary external splendor and unjustified excesses.

The art of sculpture acquires new important features. Strengthening the links between monumental and decorative sculpture and architecture becomes a characteristic feature of this period. The sculptural work - the group "Worker and Collective Farm Woman" - Mukhina arose on the basis of the architectural project of the USSR pavilion at the International Exhibition of 1937 in Paris. The synthesis of sculpture with architecture also manifested itself in the design of the Moscow Metro, the Moscow Canal, the All-Union Agricultural Exhibition, and the USSR pavilion at the International Exhibition in New York.

Of the works of monumental sculpture of these years, the monuments to Taras Shevchenko in Kharkov (M. Manizer) and Kirov in Leningrad (N. Tomsky) were of the greatest importance.

The sculptural portrait was further developed (V. Mukhina, S. Lebedeva, G. Kepinov, Z. Vilensky and others). Many sculptors are successfully working on a typical generalization of the images of their contemporaries (Metallurg by G. Motovilov, Young Worker by V. Sinaisky).

Despite the totalitarian state control over all spheres of the cultural development of society, the art of the USSR in the 30s of the 20th century did not lag behind the world trends of that time. The introduction of technological progress, as well as new trends from the West, contributed to the flourishing of literature, music, theater and cinema.

A distinctive feature of the Soviet literary process of this period was the confrontation of writers into two opposite groups: some writers supported Stalin's policy and glorified the world socialist revolution, while others opposed the authoritarian regime in every possible way and condemned the leader's inhumane policy.

Russian literature of the 30s experienced its second heyday, and entered the history of world literature as the period of the Silver Age. At that time, unsurpassed masters of the word worked: A. Akhmatova, K. Balmont, V. Bryusov, M. Tsvetaeva, V. Mayakovsky.

Russian prose also showed its literary power: the work of I. Bunin, V. Nabokov, M. Bulgakov, A. Kuprin, I. Ilf and E. Petrov firmly entered the guild of world literary treasures. Literature during this period reflected the fullness of the realities of state and public life.

The works covered those issues that worried the public at that unpredictable time. Many Russian writers were forced to flee from the totalitarian persecution of the authorities to other states, however, they did not interrupt their writing activities abroad either.

In the 1930s, the Soviet theater experienced a period of decline. First of all, the theater was considered as the main instrument of ideological propaganda. Chekhov's immortal productions were eventually replaced by pseudo-realistic performances glorifying the leader and the communist party.

Outstanding actors who tried in every possible way to preserve the originality of the Russian theater were subjected to severe repressions by the father of the Soviet people, among them V. Kachalov, N. Cherkasov, I. Moskvin, M. Yermolova. The same fate befell the most talented director V. Meyerhold, who created his own theatrical school, which was a worthy competitor to the progressive West.

With the development of radio, the age of the birth of pop music began in the USSR. The songs that were broadcast on the radio and recorded on records became available to a wide audience of listeners. Mass song in the Soviet Union was represented by the works of D. Shostakovich, I. Dunaevsky, I. Yuriev, V. Kozin.

The Soviet government completely denied the jazz direction, which was popular in Europe and the USA (this is how the work of L. Utesov, the first Russian jazz performer, was ignored in the USSR). Instead, musical works were welcomed that glorified the socialist system and inspired the nation to labor and exploits in the name of the great revolution.

Cinematography in the USSR

The masters of Soviet cinema of this period were able to achieve significant heights in the development of this art form. A huge contribution to the development of cinema was made by D. Vetrov, G. Alexandrov, A. Dovzhenko. Unsurpassed actresses - Lyubov Orlova, Rina Zelenaya, Faina Ranevskaya - became the symbol of Soviet cinema.

Many films, as well as other works of art, served the propaganda purposes of the Bolsheviks. But still, thanks to the skill of acting, the introduction of sound, high-quality scenery, Soviet films in our time cause genuine admiration of contemporaries. Such tapes as "Merry Fellows", "Spring", "Foundling" and "Earth" - have become a real asset of Soviet cinema.

Education

30s - one of the most controversial periods in the history of not only the political, economic, but also the cultural development of the Soviet state. In the field of education, first of all, the fight against illiteracy continued. Universal compulsory primary education throughout the country was implemented by the end of the second five-year plan (1937). In 1937, universal compulsory seven-year (incomplete secondary) education was introduced in the cities, and in 1939 the task of transitioning to universal secondary education (ten-year education) was set. However, since 1940, education in the senior classes has become paid (300 rubles per year). This switched the interest of the majority of urban youth from general education schools to vocational schools and factory training schools (FZOs), which prepared a pool of skilled labor.

In the early 30s. the dominant in the 20s was rejected. school death theory. Vseobuch was accompanied by a serious reform of primary and secondary schools, a turn to the traditions of the pre-revolutionary school with its fundamental knowledge. Schools introduced a strictly defined schedule of classes, strict regulation of the educational and social work of schoolchildren. Lesson has become the main form of organization of the educational process. Instead of "loose books", stable textbooks on the basics of sciences were introduced. But, as in the 1920s, they tried to bring training closer to production. Most of the schoolchildren carried out social work within the framework of the pioneer and Komsomol organizations. In 1934, by a decree of the Central Committee of the All-Union Communist Party of Bolsheviks and the Council of People's Commissars of the USSR, the teaching of history in schools was restored, and historical faculties were opened at Moscow and Leningrad universities, which trained highly qualified teachers of history.

In higher education, since 1932, emphasis has been placed on the quality and fundamental nature of specialist training. Entrance exams to universities were restored, the brigade-laboratory method of teaching was replaced by a lecture-seminar method, and collective responsibility for the quality of education became individual. Canceled party mobilization to study at universities (thousanders), booking places for women, social restrictions on admission to universities and; finally, the famous workers' schools. To increase the responsibility and role of teachers in the educational process, the Council of People's Commissars established academic degrees and titles in 1934.

In the 1930s, the main feature of the development of science was a sharp turn towards the needs of the country's economic development. As before, the main scientific center of the country was the Academy of Sciences of the USSR, whose branches since 1932 began to be created in the capitals of the Union republics. More than a thousand research institutes of the Academy of Sciences of the USSR and economic people's commissariats worked out the main scientific and technical problems envisaged by state plans.

In the early 1930s, based on the developments of Soviet chemists headed by Academician S.V. Lebedev, the production of synthetic rubber from ethyl alcohol was launched. In 1932, geologists led by academician I.M. Gubkin discovered new oil-bearing regions in the Urals and Bashkiria, called the "Second Baku". Academician N.I. Vavilov collected the world's largest unique collection of cultivated plants from five continents for study and practical use. Especially significant were the scientific developments of physicists - A.F. Ioffe, S.I. Vavilov, D.S. Rozhdestvensky, P.L. Kapitsa, I.E. Tamm, I.V. Kurchatov, L.D. Lan-dau and many others who worked for the defense. In 1933, the Jet Propulsion Study Group (GIRD) created and launched the first Soviet rockets. This group included the future creator of the world's first jet weapon ("Katyusha") AT. Kostikov and the future chief designer of spacecraft S.P. Korolev. The beginning of the study of the stratosphere by Soviet scientists dates back to this time. In 1933, the first Soviet stratospheric balloon "USSR" rose to a height of 19 km. In 1934, the second stratospheric balloon "Osoaviakhim-1" with the crew rose to a height of 22 km. The second space reconnaissance ended in the death of the crew, but this did not stop scientific development.

A special page in the scientific chronicle of the 30s. entered the researchers of the Arctic, headed by O.Yu.Schmidt. In July 1933, he led a scientific expedition across the Arctic Ocean on board the ship Chelyuskin, which soon fell into ice compression and sank in February 1934. In the distant Chukchi Sea, on a drifting ice floe, polar explorers created a “Schmidt camp”. Only in April they were removed from the ice floe. For heroism in the rescue of polar explorers, the Soviet government for the first time awarded the title of Hero of the Soviet Union to pilots. In 1937, the study and development of the Arctic was continued by I.D. Papanin, E.T. Krenkel, E.K. Fedorov, P.P. Shirshov. For 274 days, the four polar explorers drifted on an ice floe in the ocean from the North Pole for more than 2500 km. Reference meteorological and radio stations were created in the region of the North Pole. Thanks to them, in 1937 pilots V.P.

The Soviet aircraft industry also achieved significant success (development of the design of an all-metal aircraft by A.N. Tupolev and others), but in the late 1930s. many scientists, including aircraft designers, were arrested. Some of them continued their work in prison in special laboratories of the NKVD system.

In the field of social sciences, special importance was attached to a new reading of the history of the Communist Party. The work of historians was personally closely followed by I.V. Stalin, who demanded that Trotskyist concepts be eradicated in historical-party science. In 1938, under the editorship of the Central Committee of the All-Union Communist Party of Bolsheviks, with the participation of I.V. Stalin, he published "A short course in the history of the CPSU (b)", which for many years became the main landmark of socio-political research.

In 1937-1938. the scientific historical school of Academician M.N. Pokrovsky, who died in 1932, was sharply criticized. His name was removed from the name of the Moscow State University, which in 1940 was named after M.V. Lomonosov.

In the second half of the 1930s. the process of politicization and ideologization of Soviet science intensified sharply. Political labels began to be actively used in scientific discussions. Opponents were often deprived not only of work in their specialty, but of freedom and life. In 1935, the president of VASKhNIL, N.I. Vavilov, was removed from the leadership of the academy and was soon arrested. Two subsequent presidents were shot, and VASKhNIL was headed by T.D. Lysenko, who promised Stalin to solve the grain problem by breeding branchy wheat.

The development of literature and art in the 1930s was determined by the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the restructuring of literary and artistic organizations” (1932). All associations of the creative intelligentsia were liquidated, and the process of creating unified "industry" organizations of the republican and all-Union scale began. In 1932, the Union of Soviet Architects, the Union of Soviet Writers, and republican unions of Soviet composers and artists were created. A major event in the cultural life of the country was the 1st Congress of Soviet Writers, which took place in August 1934 and elected A.M. Gorky as chairman of the board of the Union of Writers. Gorky, who finally returned to his homeland in 1931, became an active propagandist socialist realism, which was proclaimed the main artistic method. Socialist realism demanded to combine the historical concreteness of the artistic depiction of reality with the education of the working people "in the spirit of socialism."

In 1936-1937. a struggle was launched against formalism in literature and art. Innovation in the musical and theatrical arts was condemned; modern drama, satire, love lyrics were actually forbidden; non-political topics were curtailed. In books, films, plays, music, the military theme dominated.

Among the most important achievements of Soviet literature in the 1930s. include the novels “The Life of Klim Samgin” by A.M. Gorky, “Virgin Soil Upturned” by M.A. Sholokhov, “How the Steel Was Tempered” by N.A. Ostrovsky, “Peter the First” by A.N. Tolstoy, books for children by A.P. Gaidar, etc. A.A. .Akhmatova, B.L. Pasternak, O.E. Mandelstam. It should also be noted the dramaturgy of N. Pogodin, L. Leonov, Vs. Vishnevsky and others.

The largest phenomena in the musical life were the works of S.S. Prokofiev (music for the film "Alexander Nevsky"), A.I. Khachaturian (music for the film "Masquerade"), D.D. Shostakovich (opera "Lady Macbeth of Mtsensk District", banned in 1936 "for formalism"). The songs of I.Dunaevsky, A.Aleksandrov, V.Soloviev-Sedogo gained wide popularity.

Cinematography made a significant step in its development (films “Chapaev” by S. and G. Vasilyev, “Deputy of the Baltic” by I. Kheifits and A. Zarkhi, “Alexander Nevsky” by S. Eisenstein, comedies by G. Alexandrov “Merry Fellows”, “Circus ").

Historical and revolutionary themes were actively developed in painting (“Death of the Commissar” by K. Petrov-Vodkin, “Defense of Petrograd” by A. Deineka, “Trumpeters of the First Cavalry Army” by M. Grekov, etc.), as well as the portrait genre (works by M. Nesterov , P. Korina and others). The most outstanding sculptural work of the 1930s. became the monument to V. Mukhina "Worker and Collective Farm Girl".

This lesson is dedicated to the culture and art of the USSR in the 1930s. Despite the totalitarian control of the state over all spheres of the cultural development of society, the art of the USSR in the 1930s. did not lag behind the world trends of that time. The introduction of technological progress, as well as new trends from the West, contributed to the flourishing of literature, music, theater and cinema. During today's lesson, you will learn what factors influenced the culture of the USSR in the 1930s, what new things happened in the field of education, science, painting, architecture, literature, music, theater and cinema

Rice. 2. Tsvetaeva M.I. ()

Economic development also affects the development of culture and art. In the country in the 1930s, just as in the 20s, educated people were needed. The country needs competent highly qualified specialists in all sectors, in all areas. Education is developing, as well as culture, science and art.

Interesting changes are taking place in the social sphere. Culture is becoming more mass, that is, more people are educated, have the opportunity to join cultural and spiritual values. On the other hand, in order to please these masses of the population, cultural figures and artists are forced to lower the bar, to make art accessible and understandable to the people. Art as a method of influencing a person, as a method of understanding the world, can be a very important and powerful ally of power. Of course, the art of the 1930s. not so much opposed the authorities as helped, it was one of the means of establishing the Stalinist regime, a method of establishing the communist ideology, a method of establishing the cult of personality.

In the 30s. contacts with other countries have not yet ceased. Mutual exchange of cultural ideas, trips, exhibitions are not as intense as in the 1920s, but, nevertheless, they do occur. The USSR was a multinational country, and in the 1930s. the national culture reaches a high level, a separate writing system of the small peoples of the Soviet Union appears.

Culture and art continued to comprehend the events that took place in the 1930s. There were no bright events, but the impetus given by the revolution continued its action. In the 1930s the Bolsheviks continued to talk about the cultural revolution, and the first task was to raise the level of education, the elimination of illiteracy. In the early 30s. universal 4-year free education is introduced, at the end of the 30s. the 7-year-old becomes obligatory and also free. In total, the secondary school then included a program of 9 classes (see Fig. 3).

Rice. 3. Soviet poster ()

Moreover, a huge number of new schools were built, many of these schools, built in the 1930s, with large spacious classrooms and corridors, still stand in our cities.

In addition to the system of secondary education, higher education is also developing. By the end of the 30s. There were several thousand higher educational institutions in the USSR. A huge number of new educational institutions, branches of higher educational institutions were opened. Almost a million people by 1940 had higher education. Changes also took place in the structure of higher education. From Ser. 30s a greater role began to be given to the social sciences, especially history. In the 20-30s. continuity was maintained in the field of teaching mathematics, physics, and other exact and natural sciences, but with the humanities, everything was different. We can say that in the 1920s - early 1930s. history simply did not exist, the historical faculties at the Moscow and Leningrad institutes were liquidated. Since 1934, the tasks have changed.

In 1933, Adolf Hitler came to power in Germany. The German national idea, patriotic, was perverted by the Nazis. In this regard, the education system is changing, more attention is paid to those sciences that are engaged in the education and development of patriotic feelings in a person.

Great success in the 30s. in particular, such famous Soviet physicists and chemists as P.L. Kapitsa, A.F. Ioffe, I.V. Kurchatov, G.N. Flerov, who worked in different fields. S.V. Lebedev, the famous Soviet chemist, through his experiments, achieved the production of synthetic rubber (see Fig. 4, 5, 6).

Rice. 4. P.L. Kapitsa ()

Rice. 5. A.F. Ioffe()

Rice. 6. S.V. Lebedev ()

Things were not so good in the humanities. In the 1930s there were several discussions, in particular, on history. As a result of these discussions, the opinion was established that the entire history of mankind, according to the theory of Karl Marx, is five formations successively replacing each other: primitiveness, slavery, feudalism, capitalism, socialism, smoothly turning into communism. Socio-economic formation is the central concept of the Marxist theory of society or historical materialism. By means of the OEF, ideas about society as a certain system were fixed and at the same time the main periods of its historical development were singled out. It was believed that any social phenomenon can be correctly understood only in connection with a certain GEF, an element or product of which it is. The history of all countries and peoples has begun to conform to this pattern, to this pattern. There were discussions, discussions could be held, but when the discussion ended, often on instructions from above, it was forbidden to argue further and only one point of view was recognized as correct. Living scientific life was stopped, because science without discussions is impossible. Also, science was severely damaged by repression. Repressed scientists: N.I. Vavilov, P.A. Florensky, E.V. Tarle, S.F. Platonov, D.S. Likhachev. (see Fig. 7).

Rice. 7. D.S. Likhachev ()

Art and literature also developed in the 1930s. It must be said that more significant changes are taking place in the sphere of literature and art than in the sphere of development of science and education. Since 1934, there has been a creative organization in the country that unites all writers - the Union of Writers of the Soviet Union. Until 1934, there were several organizations: LEF (left front), the Union of Russian Writers, the Organization of Peasant Writers, etc. In 1934, they all united, and under the leadership of Maxim Gorky, a new organization was created - the Union of Writers. At the beginning of 1929, the LEF association broke up; it did not become part of the Writers' Union. After some time, the Union of Composers, the Union of Architects appeared. The Soviet authorities organized such unions in order to take literary and artistic figures under control. Thus, control by the authorities in a totalitarian regime is carried out by different methods. Firstly, this is purely administrative control, and secondly, through the unions of writers, journalists, artists, composers. A sufficiently large number of excellent writers could not fit into this new organized literary life. M.A. was practically not printed. Bulgakov, they stopped publishing A.P. Platonov, hounded M.I. Tsvetaev, died in the camps of O.E. Mandelstam, N.A. Klyuev. Repression touched many writers. At the same time, A.N. Tolstoy, M. Gorky, A.A. Fadeev, S.Ya. Marshak, A.P. Gaidar, K.M. Simonov, M.A. Sholokhov, K.I. Chukovsky, A.L. Barto, M.M. Prishvin. To the verses of Soviet poets M.V. Isakovsky, V.I. Lebedev-Kumach composed amazing songs (see Fig. 8, 9, 10).

Rice. 8. Korney Chukovsky ()

Rice. 9. Aibolit. Korney Chukovsky ()

Rice. 10. Agnia Barto ()

Interesting processes took place in other areas of art. Music is a difficult area to perceive. 30s - these are the years of different music: on the one hand, S.S. Prokofiev, D.D. Shostakovich wrote serious symphonic music. But the masses of Soviet citizens sang the songs of A.V. Alexandrov, for example, his famous song "Katyusha", which became popular. Among the famous performers of that time are L.P. Orlova, L.O. Utyosov. In 1932 the Union of Soviet Composers was founded.

Art is always a struggle, it is an artist's struggle with himself, it is a struggle of styles, a struggle of directions. In the 1930s Socialist realism continues to assert itself - a theoretical principle and the main artistic direction that dominated the USSR in the mid-1930s. - early 1980s In Soviet art and art criticism already in the late 1920s. an idea was formed about the historical purpose of art - to affirm socialist ideals, images of new people and new social relations in a generally accessible realistic form. The Russian avant-garde (P. Filonov, Robert Falk, Kazimir Malevich) gradually fades into the background. At the same time, P. Korin, P. Vasiliev, M. Nesterov continued to create, began to paint portraits of famous people, scientists, doctors, artists.

Interesting processes continue in architecture. There is such a trend as constructivism, the avant-garde in architecture. One of the directions of the avant-garde said that architecture should be functional. Homes, in addition to being beautiful, should also be simple and comfortable. In the 30s. Soviet urban planning is born. Large, spacious, bright, as convenient as possible cities, new cities of the future - their creation was in the first place among Soviet architects. A. Shchusev, K. Melnikov, the Vesnin brothers are architects who created a new look for our country. In addition to houses, apart from residential areas, there was an idea to show the beauty of the industrial world, to build beautiful factories, so that a person, looking at this industrial landscape, would understand that the country was moving towards a bright future.

At the end of the 30s. in all branches of art: in painting, and in sculpture, and in architecture, a great style begins to appear - the Soviet Empire style. This is the imperial style, it is characterized by large beautiful powerful houses, paintings depicting heroes. The Stalin Empire style is the leading direction in Soviet architecture (1933-1935), which replaced rationalism and constructivism and became widespread during the reign of I.V. Stalin (see Fig. 11, 12).

Rice. 11. Stalinist empire. Hotel "Ukraine" ()

Rice. 12. Stalinist empire. Ministry of Foreign Affairs ()

The sculpture of V.I. Mukhina "Worker and Collective Farm Girl", prepared for the world exhibition in Paris in 1937 (see Fig. 13).

Rice. 13. Sculpture "Worker and Collective Farm Girl". IN AND. Mukhina ()

Movie

Cinema carried an important ideological load. It told about the revolutionary struggle (“Youth of Maxim”, “Return of Maxim”, “Vyborg side” - directors G. Kozintsev and L. Trauberg); about the fight against internal enemies (“The Great Citizen” - directed by F. Ermler); about the happy life of the Soviet people (comedies directed by G. Aleksandrov with the participation of L. Orlova "Merry Fellows", "Circus", "Volga-Volga"); about overcoming difficulties ("Seven Courageous" - directed by S. Gerasimov). In the film directed by M. Romm "Lenin in 1918", Stalin appeared for the first time in the cinema. In 1938, on Stalin's orders, S. Eisenstein staged the film Alexander Nevsky, starring N. Cherkasov. Composers I. Dunaevsky, N. Bogoslovsky, V. Solovyov-Sedoy wrote songs for cinema.

Theatre

In the sphere of theatrical life, the Bolshoi Theater was considered the main musical theater, and the Moscow Art Academic Theater (MKhAT) named after M.V. Chekhov. Galina Ulanova shone in the ballet. Composers were encouraged to create opera and ballet performances on heroic themes. In particular, R. Gliere's ballet The Flames of Paris (about the French Revolution) and A. Cheshko's opera The Battleship Potemkin were staged.

Let's summarize. The creation of a large number of educated people, institutions, the development and expansion of branches of the Academy of Sciences led to an increase in the level of education, the creation of a new layer of the Soviet intelligentsia. On the whole, positive processes were going on in education and science, with the exception of the tragic moments of repression. In the 1930s art, painting, music, literature, sculpture, architecture developed.

Homework

1. Describe the processes of development of education, science and artistic culture of the USSR in the 1930s.
2. Why do you think the 1930s special attention was paid to the teaching of history?
3. Expand the essence of the method of socialist realism in art. What works of socialist realism do you know?
4. Which of the repressed in the 1930s. can you name the figures of science and culture? Prepare a report or message about their activities and creativity.

Bibliography

1. Shestakov V.A., Gorinov M.M., Vyazemsky E.E. Russian history,
2. XX - beginning of the XXI century, 9th grade: textbook. for general education institutions; under. ed.
3. A.N. Sakharov; Ros. acad. Sciences, Ros. acad. education, publishing house "Enlightenment". -
4. 7th ed. - M.: Enlightenment, 2011. - 351 p.
5. Kiselev A.F., Popov V.P. Russian history. XX - the beginning of the XXI century. Grade 9: textbook. for general education institutions. - 2nd ed., stereotype. - M.: Bustard, 2013. - 304 p.
6. Lezhen E.E. Poster as a means of political agitation in the 1917-1930s. Bulletin of the Saratov State Social and Economic
7. university. - Issue No. 3. - 2013. - UDC: 93/94.
8. Braginsky D.Yu. Sports motives in Russian art of the 1920-1930s. Proceedings of the Russian State Pedagogical University A.I. Herzen. - Issue No. 69. - 2008. - UDC: 7.

1. mobile.studme.org().
2. Nado5.ru ().
3. countries.ru ().
4. Russia.rin.ru ().

The beginning of the 1930s was marked by the appearance of the most important party documents, stimulating the unification and development of creative forces. The resolution of the Central Committee of the Communist Party of April 23, 1932 had a beneficial effect on musical culture.

The Russian Association of Proletarian Musicians is being liquidated (the Association of Contemporary Music actually collapsed earlier), ways are outlined for the further development of realistic music, and the democratic traditions of Russian classical musical art are being established.

In 1932, the Union of Soviet Composers was organized, which laid the foundation for an association of musicians based on the method of socialist realism. Soviet musical creativity has moved to a new stage.

Songwriting takes on a huge scale. The genre of mass song becomes a laboratory of new means of melodic expression, and the process of "song renewal" covers all types of music - opera, symphony, cantata-no-oratorio, chamber, instrumental. The themes of the songs are diverse, as are their melodies.

Among the works of the song genre, the combat songs of A. Alexandrov, the songs of I. Dunaevsky with their ringing fun, youthful energy, bright lyrics (such as the world-famous "Song of the Motherland", "Song of Kakhovka", "March of the Merry guys ", etc.), original songs by V. Zakharov, dedicated to the new life of the collective farm village ("Along the village", "And who knows", "Seeing him off"), songs of the Pokrass brothers ("If tomorrow is war", "Konarmeyskaya") , M. Blanter ("Katyusha" and others), S. Katz, K. Listov, B. Mokrousov, V. Soloviev-Sedogo.

The song genre developed in close collaboration between composers and poets M. Isakovsky, V. Lebedev-Kumach, V. Gusev, A. Surkov and others. The emergence of sound films contributed to the wide popularity of Soviet songs. Having left the screen, they have long survived the films for which they were written.

The opera house in the 30s was enriched with realistic works on a modern theme, accessible in language, truthful in content, although not always free from shortcomings (weak dramaturgy, incomplete use of broad vocal forms, developed ensembles).

Operas by I. Dzerzhinsky "Quiet Flows the Don" and "Virgin Soil Upturned" were distinguished by a bright melodic beginning, a realistic characterization of the characters. The final chorus "From Edge to Edge" from "Quiet Don" has become one of the most popular popular songs. T. Khrennikov's opera Into the Storm is also filled with dramatic characteristics, original melody, and expressive folk choirs.

Elements of French folk music received an interesting refraction in D. Kabalevsky's opera Cola Breugnon, marked by great professional skill and subtlety of musical characteristics.

S. Prokofiev's opera "Semyon Kotko" was characterized by the rejection of mass song and the predominance of recitative.

Various trends in the work of Soviet composers became in 1935-1939. the subject of discussions about the ways of development of operatic art.

Composers who worked in the genre of operetta also turned to the modern theme - I. Dunaevsky, M. Blanter, B. Alexandrov.

In the ballet genre, realistic tendencies were represented by such significant works as The Flames of Paris and The Fountain of Bakhchisarai by B. Asafiev, Laurencia by A. Crane, musical and choreographic tragedy by S. Prokofiev Romeo and Juliet. The first national ballets appeared in Georgia, Belarus, and Ukraine.

Successes in the genre of symphonic music were also associated with the penetration of the song and melodic beginning, the democratization of images, filling them with concrete life content, the strengthening of programming tendencies, and the appeal to the song and dance melodies of the peoples of the USSR.

In the 1930s, the work of the largest Soviet symphonists of the older generation flourished, and the talents of the young became mature. In symphonic music, realistic tendencies are intensifying, the themes of modernity are reflected. N. Myaskovsky created ten symphonies during this period (from the 12th to the 21st). S. Prokofiev writes the patriotic cantata "Alexander Nevsky", the 2nd violin concerto, the symphonic fairy tale "Peter and the Wolf", D. Shostakovich - the 5th symphony, grandiose in concept and depth of content, as well as the 6th symphony, piano quintet , quartet, music for the film "Counter".

Many significant works in the symphonic genre were devoted to historical, revolutionary and heroic themes: D. Kabalevsky's 2nd symphony, Y. Shaporin's symphony-cantata "On the Kulikovo Field". A valuable contribution to realistic music was made by A. Khachaturian (1st symphony, piano and violin concertos, ballet "Gayane").

Major symphonic works were also written by other composers, including composers from the Soviet national republics.

Performing arts have risen to great heights. Outstanding vocalists A. Nezhdanova, A. Pirogov, N. Obukhova, M. Stepanova, I. Patorzhinsky and others were awarded the title of People's Artist of the USSR.

Young Soviet musicians E. Gilels, D. Oistrakh, J. Flier, J. Zak won first prizes at international competitions in Warsaw, Vienna, and Brussels. The names of G. Ulanova, M. Semenova, 0. Lepeshinskaya, V. Chabukiani became the pride of the Soviet and world choreographic art.

Large state performing groups were created - the State Symphony Orchestra, the State Dance Ensemble, the State Choir of the USSR.