Sale of industrial landscapes of socialist realism

Vysotsky Vladimir Petrovich	Rubinstein David Isakovich	Vysotsky Vladimir Petrovich
Solovyov Sergey Fedorovich		Gremitskikh Vladimir Georgievich
Gremitskikh Vladimir Georgievich	Gremitskikh Vladimir Georgievich	Gremitskikh Vladimir Georgievich
Gremitskikh Vladimir Georgievich	Gremitskikh Vladimir Georgievich	Gremitskikh Vladimir Georgievich

Industrial landscape - a whole layer of socialist realism in painting

The period of socialist construction in our country was associated with numerous changes in people's lives. This could not but affect the fine arts, which at that time acquired a special character. The changes affected all genres of painting, and, of course, the landscape was not spared. In the thirties of the last century, the direction of the so-called “industrial landscape” was formed, in which it was clearly reflected romantic look for the active restoration of the national economy and the construction of many impressive industrial facilities. Many thematic paintings by artists were dedicated to the greatness of construction projects and achievements Soviet people in labor and industrial development. However, many Soviet artists could not help but touch on the creative side of life. ordinary people, psychology of their personality.
The appeal to topical themes of the era of socialist realism can be clearly seen in the paintings of Soviet artists V.G. Gremitskikh, G.M. Gordon, L.I. Galakhov, S.F. Solovyov, E.D. Ishmametov and many others. The works of these talented masters of painting in all their diversity are presented in the impressive collection of Alexander Gremitsky. The sale of industrial landscapes of socialist realism will be a unique opportunity for you to profitably purchase aesthetic works fine arts from an era that has already passed from us to replenish your own collection of paintings or as a painting as a gift to people significant to you.

Features of the industrial landscape of socialist realism

Socialist realism arose as a movement in the era of active construction Soviet society. At the same time, the view of the surrounding reality provided for a special ideological bias. Soviet painting, like other forms of art, was supposed to become a conductor Soviet people to faith in a bright future and show the advantages of the then existing political system.
The industrial landscape of the artists of that time was intended to reflect the development
technical progress- construction of large economic and industrial facilities, increasing the volume of agricultural supplies, affirming the idea of ​​​​the joy of human labor. Such thematic large paintings they created a visually successful image of a great power and were supposed to tune the entire people to an optimistic perception of the then reality. Many painters who turned to this theme were able to create with the help of various artistic means truly talented works that reflected the scale of construction projects and incredible grandeur people's labor, a charge of vigor and faith in a bright tomorrow.
At the same time, the artists were able to clearly convey their personal attitude to the theme they chose for their industrial landscapes, filling the paintings with elements of romanticism and optimism. A clear example industrial landscapes can safely be called such works pictorial art, like “Construction of the Kuibyshev hydroelectric power station”, “Lights of Kuibyshevgidrostroy” by artist Vladimir Gremitskikh.

Buy an industrial landscape of socialist realism in Moscow

If you don’t yet know where you can profitably buy a painting with an industrial landscape, then it’s time to visit virtual gallery site "Soviet painting". Here you will find many works of art by talented Soviet artists. These socialist realist paintings will be the perfect addition to your personal collection. In addition, it can be a thoughtful option for investing money.

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The victorious October Revolution of 1917 carried out a radical revolution not only in the political and social life society; it radically transformed the culture, consciousness, and worldview of people. Despite the difficult living conditions, civil war, devastation and famine, the 1920s and 1930s became one of the most productive years in terms of creative search in painting, architecture, literature, theater, and cinema. True, then, after this cultural breakthrough, a return movement began, with the suppression of “degenerate art,” which essentially contradicted the ideological line of the party and the Soviet government.

But this will be in the future, which in the 1920s seemed bright and inviting - with its perspective, novelty, scale. With the proclamation of programs for economic transformation of the country, electrification, industrialization, construction of a new, communist society, the whole country turned into one big construction site, where the main actor The working class has become, transforming the surrounding reality at an unprecedented pace.

Against the backdrop of agricultural landscapes and untouched nature, enterprises in the electric power industry, chemistry and petrochemistry, mechanical engineering, metallurgy, and heavy industry began to be built en masse.

The scale of the transformation shocked not only the average person, but also artists of various genres and trends. Organizers and followers of the “Jack of Diamonds”, “Donkey’s Tail” and other avant-garde associations Russian painters actively involved in a life inspired by labor romance and enthusiasm, shifting the emphasis from “scarecrows” (as Ilya Mashkov called his Fauvist portraits) to the creation of proletarian architectural masterpieces (such as the “Tatlin Tower”), posters, and industrial landscapes.

Below is early work A. Kuprin “Plant. Etude”, written almost in the style of cubism, although the author avoids the fragmentation of objects characteristic of this direction.

Masters such as Alexander Kuprin, Konstantin Bogaevsky, Alexander Deineka, Alexander Labas, as well as a whole series other artists, put aside still lifes, portraits and nudes in order to create a new direction, called industrial landscape. This capacious concept included not only canvases depicting factories or new buildings, but also other economic subjects - the construction of new cities and significant objects, power plants and dams, railways and locomotives, leaders of production in the surroundings technical means, machine tools, tractors, cranes.

The artists who painted industrial landscapes were not opportunists trying to ride the new fashion wave and at the same time please the authorities. Their paintings were not “colorized photographs.” The canvases of the masters of this movement convey to the viewer the powerful pulse of that time, the enthusiasm of the workers, and the enormous scale of economic transformations. At the same time, we can observe the transmission of industrial rhythm and creative spirit through various styles– socialist realism, avant-gardeism, impressionism and even futurism (the latter direction for cities of the future is very popular even now). Probably, M. Larionov and N. Goncharova’s term “allism” would be appropriate here,

implying the use of all techniques and styles.

Below are paintings by K. Bogaevsky, painted by him in different styles in 1932 and 1935.

The painting “Bibi-Heybat”, in which the artist depicted oil developments near Baku, amazes us with its static nature and complete lack of movement. The viewer sees only towering oil rigs, residential and industrial buildings near them. Nothing indicates a date; the external observer seems to find himself in a space devoid of time. Only production facilities that are waiting for workers. Who and when will give the signal to start work remains a mystery. Complete staticity and understatement makes the picture look like an “industrial icon.” In its execution, K. Bogaevsky’s masterpiece resembles the paintings of De Chirico, who worked in a metaphysical style.

The artist chooses completely different approaches when painting pictures about the construction of the Dnieper hydroelectric station. On one of them, Dneprostroy is depicted in an almost impressionistic manner, where the play of light occupies one of the central places. Spotlight beams and flashes from welding work enliven the composition with dynamics and creativity, showing that work does not stop even in the evening and at night.

In the painting “Panorama of the construction of the Dnieper Hydroelectric Power Station,” Bogaevsky adheres to a realistic style, carefully depicting the details of the extensive construction site.

The works of Alexander Kuprin are designed in a more uniform and recognizable style, which depicts not only production sites, but also clearly visible workers engaged in creative work.

The canvases of A. Labas have a unique style and charisma, choosing a special palette of colors for the industrial landscape, characteristic of pastels. In the artist's execution, the enterprises and the surrounding landscape come to a state of harmony, which pleases the eye of an external observer.

Paintings by artists representing the industrial landscape in the pre-war and post-war period enjoyed

demand from the corporate sector. This type of painting was also close to the working masses, who perceived it as understandable, accessible, and advanced. The paintings of the industrialists did not require additional explanations and lectures, almost necessary for the Suprematism of Malevich or the abstractions of Kandinsky. Everything was done not only in a highly artistic style, but also had an educational and propaganda function that set the viewer in a creative mood.

Projection from an industrial landscape monumental painting, mosaics and embossings that decorated the buildings of Soviet cities, enterprise territories and park areas. Industrial landscapes have been and continue to be an indispensable attribute of executive offices, lobbies and corporate museums. This Soviet tradition has been preserved in a somewhat transformed form and now, having become part of organizational culture not only industrial, but also service, transport and other companies.

It should be noted that over time, attitudes towards the industrial landscape have changed. This became especially noticeable after man-made disasters in Bhopal, Chernobyl, extensive oil spills, and the appearance of industrial smog over the cities.

Pipes of industrial enterprises have become a symbol of environmental pollution, increasing greenhouse gases, waste water, exploitation of people and the environment. In the late 1990s and 2000s, the industrial landscape increasingly began to be used in the genre of grotesque and caricature.

At the same time, the industrial landscape continues to develop taking into account new trends in industrial and landscape design, moving to a new stage of its evolution.

It is difficult to see beauty in a coal mine or, for example, in a recycling plant. It is unlikely that anyone will think of beauty when looking at the chimneys of industrial enterprises or abandoned quarries. But photographer Edward Burtynsky is drawn to just such subjects, and he shows us that they, too, can enchant.

A dominant theme in Edward Burtynsky's work is nature as modified by industrial activity. He looks for suitable landscapes, rich in detail, and photographs them. Quarries, factories, mines - all these places are beyond our daily experience, although we are aware of their role in providing us with a comfortable life.

Edward Burtynsky's images should be taken as a metaphor expressing the dilemma of our modern existence; they contain a hidden dialogue between attraction and disgust, temptation and fear. We all crave a comfortable life and consciously or unconsciously understand that the world suffers for our well-being. Our dependence on nature to provide materials for humanity to consume, while at the same time the challenge of maintaining the health of our planet, leads to a difficult contradiction. It is these difficulties that are reflected in the photographer’s works.

Edward Burtynsky photographs the raw materials and waste of civilization—but does so in a way that has people calling his work “beautiful” and “stunning.” The author's photographs attract interest and ask many questions, none of which Edward even tries to answer.

The achievements of scientific and technological progress, which became one of the most important signs of the twentieth century, affected literally all spheres of human life. They not only put previously unimaginable opportunities into his hands, but changed the very perception and understanding of the world, which, thanks to the efforts of numerous scientists and engineers, became global, where events occurring at the same time in different parts lights turn out to be interconnected, capable of instantly influencing the destinies of millions of people. The contradictory essence of this process worried not only specialists in the natural and technical sciences, but also sociologists, philosophers, writers, and artists. Fine art, along with philosophy, literature, and cinema, responded sensitively to the changes that the world around us under the influence of rapidly developing science and industry. Discoveries and inventions that took place on turn of the 19th century and XX centuries, in many ways anticipated and prepared those social revolutions that soon shocked and transformed the whole world. And, it seems, it is no coincidence that it was in Russia after the victory October Revolution, which truly marked the beginning of a completely new stage in domestic and world history, the industrial, or industrial, theme received such a purposeful and fruitful development. Having revealed its ideological significance for the young Soviet state, it was reflected in the thematic picture, and in the portrait, and in the landscape.

Thus, already in the 1930s, as an independent and important section Soviet art an industrial landscape was formed, where the theme of creating a new, man-made nature was reflected both in the constructive graphics of the paintings of representatives of the Society of Easel Painters, permeated with the dynamics of modernity, and in those turned to the traditions of realistic art of the 19th century century landscapes by A. Kuprin and K. Bogaevsky. Another surge of interest in the industrial landscape occurred in the 1960s - a time of new large-scale construction and significant scientific discoveries. It was at this time that one of the greatest masters The industrial landscape was developed by A.V. Panteleev, whose work reflected not only the gains of technological progress, but also its costs, many of which turned out to be disastrous for both nature and humans. Here it is necessary to immediately draw attention to the fact that the industrial landscape is a broad section of the industrial theme, covering various genres, topics and plot motives, to one degree or another connected with the reflection of the labor feat of the people, the pathos of the rapid transformation of the world under the influence of human activity. Circle artistic traditions, which the authors of these works addressed - and the author of the book quite rightly dwells on this problem in detail - is quite wide. Those significant changes, which Soviet art underwent at the turn of the 1950s and 1960s, significantly affected the nature of the plastic interpretation of the “industrial theme”. Along with the legacy of the Easel Painters Society, which was rehabilitated at that time, and which became one of the most important artistic reference points for Alexander Panteleev, the artists’ attention turned to the thoroughly forgotten traditions of the Russian and foreign avant-garde of the early 20th century. And, it seems, it is no coincidence that it was the plastic discoveries of Picasso and the Italian futurists, as well as their Russian associates, that made it possible to adequately embody completely new subjects and motifs for the industrial theme. They, as a rule, were no longer the fruit of the tragic insights and prophecies of philosophers and writers and appeared as the response of a caring person to tragic events, which were the result of deep contradictions initially inherent in the progress of technogenic civilization.

And here Panteleev was destined to become the founder and even a classic of the “technical theme” - a completely special genre specific to Soviet art of the 1970s and 80s, which highlighted a wide range of serious problems that had yet to be solved in a traditional form easel painting. IN beginning of XXI century, when the problems caused by the unbridled development of technical progress in all its forms became completely obvious, an appeal to the work of A. V. Panteleev, an artist who managed to see and show both the triumphantly affirmative and dramatic side of technicalism, seems especially relevant and necessary .

It should be especially noted that the author often compares Panteleev’s works with the works of other Soviet artists - his predecessors (A. Deineka, K. Bogaevsky, A. Kuprin, G. Nissky) and contemporaries (T. Salakhov, S. Juntunen, N. Kormashov, E. Bragovsky, V. Vetrogonsky), identifying similarities and differences in the stylistic, pictorial-plastic and figurative-content interpretation of the industrial theme. At the same time, I.B. Balashova finds the right intonations and gives a fair assessment of the work of each of the very respectable authors. In addition, she draws bold and interesting historical parallels between the nature of the figurative solutions in the works of Panteleev and the masters of past eras - we're talking about, in particular, about the drawings of Leonardo da Vinci, works largest representative the classic landscape of the 17th century by Nicolas Poussin, as well as about ancient Russian art, to which the iconographic solution of a number of the artist’s later works goes back, dedicated to the image of a robot - a new hero of the era of the scientific and technological revolution.

painting urban industrial landscape

(from the French paysage - country, locality) - a genre of fine art in which the main subject of the image is nature.
Landscape appeared as an independent genre already in the 6th century. Chinese art. Chinese traditions landscape painting had a great influence on Japanese art.
In Europe the landscape is like separate genre appeared much later than in China and Japan. During the Middle Ages, when only religious compositions had the right to exist, the landscape was interpreted by painters as an image of the characters’ habitat.
Gradually the landscape went beyond others artistic genres. This was facilitated by the development of easel painting. Masters played a major role in the creation of the landscape genre Venetian school at the beginning of the 16th century
In Russian art, landscape as a genre of painting appears in late XVIII century. Semyon Shchedrin (1745-1804) is considered to be the founder of Russian landscape.
The rise of landscape painting was marked by the development of the plein air landscape, associated with the invention in the 19th century of the method of producing tube paints.

	- a landscape in which the artist pays main attention to the image of architectural monuments in synthesis with environment Architectural landscape became widespread in the 18th century.
	Veduta- Venetian genre painting XVIII century, which depicts the city landscape in the form of a panorama, respecting the scale and proportions. Great representative This style of painting is a Venetian artist (1697-1768). In Russia, the founders of the architectural veduta were the painters F.Ya. Alekseev, M.N. Vorobyov, S.F. Shchedrin. Landscape paintings Veduta
	- a landscape in which the grandeur of the universe is shown, nature appears majestic and inaccessible to humans. Spectators looking at the heroic landscape must be content with the role of contemplatives, enjoying the image and improving their minds. French painter Nicolas Poussin is the founder of the heroic landscape.
	It first emerged in the works of such Haarlem masters as Van Goyen, De Moleyn and Van Ruisdael. Most Dutch landscapes are characterized by a muted color, consisting of light silver, olive-ocher, brownish shades, close to the natural colors of nature. The Dutch were the first to come to the depiction of individual motifs of nature, often conveying views of a particular area. In contrast to the academic landscape painters, who embodied images of nature in a conventionally ideal aspect, the masters of the Dutch landscape convey the modest nature of Holland as it is, without embellishing it. Dutch landscape paintings
	A type of landscape in which the main subject of the image is, and. Mountain landscape paintings
	A type of landscape in which the main subject of the image is city streets and buildings. Cityscape paintings
	- an idealized landscape that tells the story of the perfection, harmony and completeness of life of ordinary people, their direct connections with nature. For idyllic landscape Characterized by grazing herds, cool streams, trees with dense crowns, meadows, birds, ancient ruins, etc. Claude Lorrain is the founder of the idyllic landscape.
	Industrial landscape- a Soviet variety of the landscape genre, which depicts the romance of the restoration of the national economy and the construction of large industrial facilities. Konstantin Bogaevsky is considered to be one of the founders of the industrial landscape movement.
	Interior(derived from the French intérieur - internal) - a type of landscape painting in which the subject of the image is an image internal view premises. Paintings interior
	Landscape depicting historical events using architectural and sculptural monuments associated with these events. The historical landscape brings back to life the long past and gives it a certain emotional assessment.
	Capriccio(derived from Italian capriccio, literally - whim, whim) - architectural fantasy landscape. The most famous artists who wrote the capriccio: Francesco Guardi, . Capriccio paintings
	Image of outer space, stars and planets. Paintings of space landscape
	Cosmopolitan landscape- a landscape in which the artist depicted an imaginary landscape in the Italian style. Cosmopolitan landscapes were extremely popular in Holland in the 17th century.
	A type of landscape in which the main subject of the image is the image of a forest. Forest landscape paintings
	. In a lyrical landscape, the depicted nature is inspired by the invisible presence of man. Alexey Savrasov is the founder of lyrical landscape in Russian painting.
	Marina (derived from French marine, Italian marina, from Latin marinus - sea) is a type of landscape in which the main subject of the image is the sea, coastlines and rocks, scenes of a naval battle or other events taking place at sea. The seascape became widespread in the 17th century in the country of sailors and fishermen - Holland. The best marine painters of that time were W. van de Velde, S. de Vlieger, J. Porcellis, J. van Ruisdael. Seascape paintings
	A type of landscape in which the main subject of the image is gardens, parks, squares, alleys and other places for people to relax. Park landscape paintings
	- landscape painted in the open air (plein air).
	a landscape that captures the rebellious beginning, disagreement with the existing order of things, the desire to rise above the ordinary, to change it. Thunderclouds, swirling clouds, gloomy sunsets, violent winds are the motives of a romantic landscape. The brightest representatives of the romantic landscape in England were Joseph Mallord William Turner and John Constable, in Germany Caspar David Friedrich.
	A type of landscape that depicts the poetry of rural life, its natural connection with the surrounding nature. Rural landscape paintings
	almost monochrome landscape. Jan van Goyen, Salomon van Ruisdael and Pieter de Moleyn are representatives of the tonal landscape that appeared in the late twenties of the 17th century.
	Exterior- a type of landscape painting in which the subject of the image is an image appearance premises.
	An epic landscape is characterized by majestic scenes of nature, full inner strength and dispassionate calm. A bright representative epic landscape was M.K. Klodt, who strove to create a landscape-picture that would present the viewer with a holistic image of Russia.