Art during the Great Patriotic War. Painting during the Great Patriotic War

The Great Patriotic War obviously became the most important factor influencing the development of art in the 1940s. Soviet artists and sculptors, like other citizens, were actively involved in the defense of the country, and due to the specifics of their profession, they (like writers) found themselves involved in propaganda tasks determined by the government, which were given a colossal role during this period.

Poster by Kukryniksy “We will ruthlessly defeat and destroy the enemy!” appeared the day after the Nazi attack. The artists worked in many directions - they produced political posters for the front and rear (the task was to inspire people to heroism), at the front they collaborated in front-line newspapers and various editorial offices (the role of the studio of military artists named after M. Grekov is important here). In addition, they created works for exhibitions, “fulfilling the usual role of public propagandist for Soviet art.” During this period, two large all-Union exhibitions were held - “The Great Patriotic War” and “The Heroic Front and Rear”, and in 1943 an exhibition was organized for the 25th anniversary of the Soviet Army, where the best works about military events were presented. 12 republican exhibitions were held in the Union republics. Leningrad siege artists also fulfilled their mission: see, for example, the Siege Pencil magazine they created and regularly published.

The poster was one of the most important genres of Soviet fine art during the Second World War. Old masters who formed during the Civil War (D. Moor, V. Denis, M. Cheremnykh) and masters of the next generation worked on it (I. Toidze, “The Motherland is Calling!”; A. Kokorekin, “For the Motherland” " (1942); V. Ivanov, “We drink water from our native Dnieper, we will drink from the Prut, Neman and Bug!” (1943); V. Koretsky, “Warrior of the Red Army, save us!” (1942). TASS windows, in which the Kukryniksys and many others collaborated were an important phenomenon.

Easel graphics

Easel graphic artists also created significant works during this period. This was facilitated by the portability of their technique, which distinguished them from painters with a long period of creating works. The perception of the environment became more acute, so a large number of excited, touching, lyrical and dramatic images were created.

Many graphic artists took part in the war. Yuri Petrov, author of the Spanish Diary, died on the Finnish front. During the Leningrad blockade, Ivan Bilibin, Pavel Shillingovsky, and Nikolai Tyrsa died. Artists who volunteered for the front were killed - Nikita Favorsky, A. Kravtsov, Mikhail Gurevich.

For easel graphics of that period, seriality became a feature, when a cycle of works expressed a single idea and theme. Large series began to appear in 1941. Many of them ended after the war, connecting the present and the past.

Leonid Soyfertis creates two series of drawings: “Sevastopol” and “Crimea”. He was in Sevastopol from the first days of the war, having gone to the front as a war artist, and spent all the years of the war in the Black Sea Fleet. His everyday sketches become part of the war epic. His sheet “Once Upon a Time!” is interesting. (1941) - with a sailor and street cleaners. The sheet “Photography for a Party Document” (1943) depicts a sailor and a photographer whose tripod stands in a bomb crater.

Dementy Shmarinov created a series of drawings “We will not forget, we will not forgive!” (1942) in charcoal and black watercolor - with characteristic tragic situations of the first year of the war. Of these, the most famous are “Mother” over the body of her murdered son and “Return” of a peasant woman to the ashes, as well as “Execution of a Partisan”. Here for the first time a theme appears that will later become traditional for the art of the war years - the Soviet people and their resistance to aggression, the main emotional meaning of the series - the suffering of the people, their anger and heroic strength, “predicting” the defeat of the Nazis.

Alexey Pakhomov created a kind of graphic suite “Leningrad in the days of the siege”, created by him during his stay in the city. Started in 1941, the first six sheets were shown at an exhibition of war works by Leningrad artists in 1942, then worked on it after the war. As a result, the series consisted of three dozen large lithographs, and the subjects, in addition to the life of the townspeople during the days of the siege, included the liberation stage, the restoration of the city, and the joys of life. Among them we can list “To the Neva for water”, “Fireworks in honor of breaking the blockade”.

In addition to the series, individual drawings and engravings were also created: Deineka’s Berlin watercolors “Berlin. The Sun" and "On the Day of Signing of the Declaration" (1945).

The Second World War became a catalyst for the development of art in the Soviet Union. Artists, like ordinary citizens, were involved in the defense of the country. But creative people, in addition to the direct, physical battle with the enemy, also had an equally important task: to support those who fought at the front and those remaining in the rear. The following types of art received particular development during the Second World War: literature, painting, graphics and cinema.

Literature is a weapon of struggle

During the Second World War, prose writers, poets and playwrights created the image of a warring people and the enemy opposing them, and formed the mood of every citizen of the country. It was important to tell who they had to fight, WHAT fascism brings to the people as a whole and to the individual. Literature became a weapon of struggle. We can highlight the features of wartime literature:

• A combination of journalistic and artistic understanding of what is happening;
• Maximum consideration of the situation in the theater of military operations and in the rear;
• Mobility in response to events.

Main literary genres and works

During the Great Patriotic War, such genres as essay (P. Lidov - “Tanya”), ballad (N. Tikhonov, K. Simonov), poem (A. Tvardovsky “Vasily Terkin”, O. Berggolts “Leningrad Poem”) reached a special flourishing ), lyric poem (A. Akhmatova, B. Pasternak), etc. During the war, small genres were popular, as people valued the speed of response to military events: a writer might not have time to finish his work, just as people might not have time to read it to end…

One of the most famous wartime works is “Vasily Terkin” by A. Tvardovsky. The main character of the poem captures all the best features of a Russian person. Terkin is a simple, kind guy with a generous heart, who loves life and looks forward with optimism, he is brave, but not at all proud. This is a collective image of a gallant, persistent and cheerful Russian soldier.

The rich literary experience of those years showed what a powerful and uplifting force a truthful word can become, aimed at the struggle for an ideal. Literature of the 40s showed us the patriotic and humanistic principles, nationality, and unity of Soviet citizens. The heroes of many works were real people, participants in the war.

Painting from the Second World War

The main theme of painting in those years was, of course, military. The artists reflected in their works the fascist threat, harsh everyday life, hatred of the enemy, the suffering of the Soviet people, and grief for the dead. At the beginning of the war, there was a hasty fixation of what was seen, which did not exclude the depth of thought (Ya. Nikolaev “For Bread”, V. Pakulin “Neva Embankment. Winter”). In the middle of the war, laconicism, simplicity, and straightforwardness were observed in painting. By the end of the war, the paintings become more complex, with developed dramaturgy.

Main genres and works of painting

The following genres developed:

• Portraiture (P. Konchalovsky “Self-portrait”, M. Saryan “Portrait of the writer M. Lozinsky”);
• Landscape sketches (A. Plastov “The Fascist Flew”, K. Yuon “Parade on Red Square on November 7, 1941”);
• Historical paintings (A. Bubnov “Morning on the Kulikovo Field”, M. Avilov “Duel of Peresvet with Chelubey”).

Thus, war becomes the main theme in all genres: in historical painting, artists turned to the military past, in portraiture they depicted war heroes and home front workers, even the landscape takes on a patriotic orientation.

Inspiring graphics

Patriotic posters flourished in graphics. Everyone remembers the posters of V. Koretsky “Warrior of the Red Army, save!”, I. Toidze “The Motherland is Calling!”, T. Eryomin “Partisans, take revenge without mercy!” All these posters met propaganda objectives. The first poster inspiring people to heroism appeared on June 23, 1941: “We will mercilessly defeat and destroy the enemy” (Kukryniksy). Poster is one of the leading genres of fine art of the 40s.

Cinema is in defense of the country

And cinema did not remain indifferent to the terrible events of those years. Documentaries, newsreels, and film reports were created. The plots for the films were, again, the struggle of the Soviet people against the invaders, showing major battles and the difficult everyday life of workers in the rear. During the war, such famous feature films as “The Guy from Our City”, “Secretary of the District Committee”, “Wait for Me”, “Two Soldiers” were shot, the glory of which continues to this day. Documentaries were also filmed: “The Battle of Sevastopol”, “Berlin”, “The Defeat of German Troops near Moscow”, etc.

Thus, in the early 40s. All the efforts of artists were thrown into a truthful depiction of the tragedy of the war and glorification of the feat of the Soviet people. We have proven to ourselves and our enemies that our country, even in difficult times, remains a country of free and talented writers, artists, and filmmakers who have not submitted to anyone.

During the Patriotic War, artists, graphic artists, sculptors, like the entire Soviet people, fought with the bayonet and pen. From the first days of the declaration of war, cartoons and posters appeared in newspapers, magazines, propaganda leaflets and leaflets calling for a fight against the fascists. Artists and sculptors also did everything they could for the front and for victory. During the war, works of fine art that were vibrant in artistic and emotional perception were created, which even today appeal to patriotism, not leaving viewers indifferent.

The heartfelt language of a war poster

The patriotic poster has become an effective ideological weapon. Vivid artistic images were created with a minimal set of graphic tools in a short time. The images on the poster were accessible and understandable to all citizens. The heroes of the posters evoked empathy, hatred of the enemy and love for the Motherland, an ardent desire to defend the Fatherland.

The creators of the posters and their works have become classics of Soviet patriotic graphics. Textbook examples:

• artist I. Toidze and his “Motherland Calls”;
• D. Shmarinov demanding “Revenge”;
• V. Koretsky, calling “Warrior of the Red Army, save!”

The classics of Soviet patriotic posters are V. Ivanov, V. Kasiyan, A Kokorekin, L. Golovanov and others.

Sharp feather cartoon

During the Patriotic War, artistic graphics were most clearly represented by satirical caricature. The classics of Soviet caricature, the Kukryniksys, work for the Pravda newspaper and other printed publications. Almost every day, caustic caricatures of fascists appear, calling on citizens to resist, telling how cruel and insidious the enemy is and how to fight him.

In besieged Leningrad, cartoonists maintain morale by publishing the magazine “Combat Pencil.” In Georgia, cartoonists publish the almanac “Bayonet and Pen”, in which master L.D. drew. Gudiashvili. Cartoonists Boris Efimov and M. Cheremnykh collaborated with TASS Windows, promptly responding to everyday events on the fronts. Humor and satire inspired the fighters and directed the just anger of the people towards the sacred struggle.

Military easel graphics

During the war period, easel graphics actively developed. This type of fine art, dynamic and laconic in its artistic means and techniques, did not require special artistic materials. Pencil and charcoal were always at hand and allowed the artist to make drawings, documenting what he saw and his impressions on paper.

Sketches by M. Saryan, lithographs by Vereisky, watercolor drawings by A. Fonvizin, and engravings by S. Kobuladze became classics of the genre. The life of besieged Leningrad is reflected in gouaches by artists Y. Nikolaev and M. Platunov, and in watercolor and pastel drawings by E. Belukha and S. Boym. A series of graphic sketches by Dm. Shmarinov “We ​​will not forget, we will not forgive!” was started in 1942 in cities liberated from the Nazis. Made with charcoal and black watercolor.

Military everyday life and everyday life were captured in the drawings of L.V. Soifertis in black watercolor. The series “Sevastopol”, “Crimea”, “Caucasus” were created from 1941 to 1944. Genre pictures are filled with pride for the Soviet people, optimism, and glorify the fighting spirit of the people.

The Patriotic War and its heroes in works of art

Military painting, including battle paintings, at the initial stage of the war was not distinguished by the depth of detail. However, these paintings captivate with the depth of feelings and vividness of impressions that the artist wanted to convey. The portrait genre is receiving particular development. Artists, inspired by the heroic deeds of the soldiers, sought to capture the inspired and expressive faces of the heroes.

One of these paintings was “Portrait of a Partisan Commander” by F. Modorov, 1942. The artist painted a whole gallery of portraits of ordinary partisans and military commanders. In a combat situation and in the office, war heroes are focused and decisive, they are confident in themselves and in future victory. Also in 1942, the portrait of Major General Panfilov was painted by the artist V. Yakovlev. The commander has a field coat on his shoulders and binoculars in his hands. It seems that he is just back from the front line, but is already ready to go into battle again.

Battle scenes and heroic resistance to the enemy were depicted in the monumental canvas by A.A. Deineka “Defense of Sevastopol” 1942. For a moment, the figures of sailors repelling enemy attacks froze. Now bunches of grenades will fly at the fascists, some of the enemies have already been killed. The intensity of the battle is enhanced by the red sunset that serves as the background. Sunlight fights black clouds of smoke just like sailors in white fight fascists in dark green uniforms. The contrast of movement - a swinging sailor and a lying fascist and the contrast of color - a red-black sunset and the bright white uniform of the sailors give the canvas a special artistic expressiveness. It also inspires the viewer, who is confident of victory over the enemy.

Household and genre painting of the Second World War period

Painters from besieged Leningrad V. Raevsky, V. Pakulin, N. Rutkovsky, N. Timkov managed to capture with documentary accuracy the life of Soviet people in the besieged city. From the painting by Y. Nikolaev “Queue for bread”, 1943. Cold and frost blows over the viewer along with the hope of waiting for the bread ration. Hope never left the townspeople, and they managed to survive!

Kuryniksy M.V. Kupriyanov, P.N. Krylov, N.A. Sokolov, having learned about the execution of partisan Zoya Kosmodemyanskaya, came to the place of her death. Based on fresh impressions, they painted the canvas “Tanya”. An exhausted girl, a moment before death, looks disobediently and with hatred into the eyes of the executioners. Zoya is not broken, she holds her head straight, it seems that the girl will speak. Her confidence and fortitude are conveyed to the audience.

Monumental art during the Patriotic War

During the difficult period of the war, monumental art was also in demand. Sculptors went to the front, creating sketches and portraits from life in difficult combat conditions. Soviet monumentalists sought to depict the patriotic rise of the people: military scenes and heroic work in the home front. This gave a new impetus to the development of genre and monumental sculpture.

The bronze bust of General Chernyakhovsky, 1945-1946, made by E.V. Vuchetich, became canonical. The statue “Politruk” was created by him in 1942. The political instructor rouses soldiers to attack, his heroic impulse is transmitted to everyone present. Many sculptors who visited the front created busts and portraits of ordinary soldiers and military commanders. Among them:

• works by L. E. Kerbel - portraits of heroic pilots;
• I.G. Pershudchev - portrait of General Kovpak, medical instructor Masha Shcherbachenko, soldiers with the Victory Banner Sergeant M.A. Egorov and Sergeant M.V. Kantaria;
• V. and Mukhina - portraits of colonels B. A. Yusupov, I. Ya. Khizhnyak;
• N.V. Tomsky - portrait of twice Hero of the Soviet Union M.T. Goreev.

During the Patriotic War, artists not only reflected the military realities and the struggle of the Soviet people, but also developed and improved artistic culture, supported the fighting spirit of the people, faith in victory, and inspired them to exploits.

Literature. Domestic culture and artists made a significant contribution to the victory over fascism. Soviet literature during the Great Patriotic War had an openly propaganda character, giving, in the words of Vs. Vishnevsky, “A monstrous charge of hatred towards the enemy.” A. Tolstoy called Soviet literature during the war days “the Voice of the heroic soul of the people.” These two characteristics express the essence and role of our wartime literature. Poetry from the first days of the war played a special role. She was the first to respond to the tragic events and, turning to the moral experience of our people, spoke about the experiences of a person who found himself face to face with death, understanding his duty to the Motherland and selflessly serving it. The lyrics of the war years conveyed the appearance of the time, the spiritual world of the fighting people in songs of an epic nature.

"Son" by P. Antokolsky, "Zoya" by M. Aliger, "Vasily Terkin" by A. Tvardovsky.

A. Tvardovsky created the image of a Soviet soldier of the Great Patriotic War. He was recognizable and close to every fighter. He was simple, benevolent, sympathetic, faithful to friendship, selfless in the service of duty. This image seems to concentrate the qualities of a defender of the homeland characteristic of Russian literature. Vasily Terkin is akin to the Russian soldiers from Lermontov's Borodino and those who fought on the Borodino field in L. Tolstoy's War and Peace.

Soviet literature of the war years developed the humanistic traditions of previous centuries, and it was real humanism, full of the will to life and the readiness to defend it. It is not surprising that the winged words are from the poem "Vasily Terkin".

The battle is holy and right,

Mortal combat is not for glory,

For the sake of life on earth.

A special place among the works of the initial period of the war is occupied by M. Sholokhov’s “Science of Hatred”. This story tells how the feeling of love for the Motherland matured and strengthened in the Soviet people, how hatred and contempt for the enemy matured. In this story, one of the most important problems of that time was raised: how hatred of the enemy is born in the kind soul of the people, how a peaceful citizen becomes a skilled warrior, a defender of the Russian land. This sacred feeling of hatred for the enemy was also awakened by poetry, describing the brutality of fascism “Kill him!” K. Simonova.

Literature not only showed the monstrous face of fascism, but also called for the fight against fascism. In the works of A. Tolstoy “Stories of Ivan Sudarev”, N. Tikhonov “Characters of a Soviet Man”, V. Vasilevskaya’s story “Rainbow” and L. Leonov’s play “Invasion” there was not only a call to fight, but also a story about the courage of the Soviet man. The ability to attract people to a feat is shown in the stories of L. Sobolev “Sea Soul”, V. Grosman “The People are Immortal”, K. Simonov “Days and Nights”, etc.

In 1943, several chapters from M. Sholokhov’s novel “They Fought for the Motherland” appeared in the Pravda newspaper and the front-line press. The writer conveyed the innermost quality of the Russian character. V.M. Nemirovich-Danchenko said this about this work: “This is heroism, mixed with the strongest humor, which does not leave the Russian person, almost three seconds before death. The fusion of this is the genius of the nation.” At the center of the novel are the fates of ordinary soldiers who bore on their shoulders all the hardships of the war. The optimism expressed in the characters of Lopakhin, Poprishchenko, Zvyagintsev is akin to the love of life of Vasily Terkin, a beloved folk hero. However, M. Sholokhov did not downplay the difficulties of the initial stage of the war. With stern sincerity, the book tells about the fate of the people, revealing the “hidden warmth of patriotism” of their soul.

The war deepened feelings for the Motherland. She expanded the very concept of the Motherland and gave a new meaning to “the feeling of a united family.” It is traditional for Russian literature to reflect the unity of the entire people in the face of danger. Wartime literature saw its recognition in capturing the unity of peoples in times of severe trials. A striking example of this is A. Bekka’s “Volokolamsk Highway,” the first two stories of which were published during the war. This work is a kind of diary of the battle near Moscow. The author shows how and why Russians, Kazakhs, and Ukrainians defended Moscow together. The main characters of the story, Kazakh Mamysh-Uly, explained this way: “Our children run to school together, our fathers live side by side, sharing the deprivation and grief of a difficult time. That’s why I’m fighting near Moscow, on this land where my father, my grandfather and great-grandfather."

Gradually, the propaganda focus faded away, and a realistic approach, sometimes with elements of romance, became more and more prominent. B. Gorbaty's story "The Unconquered" is one of the first attempts to show how during the war a person's attitude to what was happening changed, how his consciousness and activity grew, and his understanding of his place in life deepened.

At the same time, the characters of the heroes were no longer revealed in something exceptional, but in the everyday, for the everyday in war became exceptional, and the exceptional - everyday. In K. Simonov's story "Days and Nights" the author pursues the idea that in war people got used to the worst things, to the fact that the people talking to him just now ceased to exist in a moment. In a person’s ability to get used to and endure the terrible, the possibility of heroism has also been preserved. The pinnacle of realism in wartime literature was V. Nekrasov’s story “In the Windows of Stalingrad,” which not only shows “the ordinary heroism of our soldiers, but also their ability to preserve the human element within themselves.”

The literature sounded romantic, permeated with an atmosphere of moral frequency. E. Kazakevich's story "The Star" convinces us that victory in this holy war was achieved with clean hands. Lieutenant Travkin, yesterday's schoolboy, became an experienced warrior, brave, persistent, and resourceful. The hero is not just honest - he “didn’t hate the truth”, he’s not just fair, but he is distinguished by “absolute selflessness.” Not just faithful to military duty, but selflessly devoted to the cause, not just brave, but “did not know what panic was.” E. Kazakevich's story is tragic, but just as in ancient Russian stories, dying troops gain eternal life, the heroes of the story "Star" do not die, but seem to dissolve, gaining immortality. Let us note that in harsh days the writers were together with their people, with their troops on the front line. At the front were A. Surkov, E. Petrov, A. Bek, M. Sholokhov, A. Fadeev, N. Tikhonov, V. Zakrutkin, M. Jalil, A. Gaidar. 10 writers were awarded the title of Hero of the Soviet Union.

Theater. In the harsh conditions of wartime, theatrical art not only did not lose its power, but on the contrary, it acquired a special civic meaning. Theater, more than ever before, is becoming necessary for all people, but, perhaps, especially for soldiers at the front. The following figures give an idea of ​​the scale of service to the front: during the war, 3,685 artistic brigades, in which 42 thousand creative workers participated, visited military units. They gave 473 thousand performances and concerts.

Special front-line theaters were also organized, which had in their repertoire not only concert programs, but also entire performances. Many of the country's leading theaters - the Maly Theater, the E. Vakhtangov Theater, the Bolshoi Drama Theater named after Gorky - formed their own front-line finals, which went through the battle path together with their fighters. Many theaters in cities and regions temporarily occupied by the Nazis - Smolensk, Orel, Kalinin - also became front-line theaters. By the end of 1944, there were 25 front-line theaters in the active army.

In liberated Leningrad, the theater of musical comedy and the theater of the Red Banner Baltic Fleet continued to operate. In October 1942, the City Theater appeared. From the theater of the people's militia, organized in July 1942 by N. Cherkasov, the Agitation Platoon of the Leningrad Front was formed. During the most terrible winter of the siege of 1941-42, there were no performances in Leningrad theaters, but performances were given at enterprises, in military units and at the front. Taking into account the created conditions, the Theater of the Red Banner Baltic Fleet was divided into “fives” and actors in camouflage robes, under fire, reached the combat units and gave concerts there.

Among the dramatic works that appeared in the first days of the war, A. Afinogenov’s play “On the Eve” appeared, which told how the war invaded the peaceful life of the Soviet people. Despite the tragedy of the events that took place, the play was imbued with faith in victory.

In mid-1942, the most remarkable wartime plays appeared. In July 1942, L. Leonov read his play “Invasion” in Moscow. This is a philosophical, psychological drama. The main theme is the heroic resistance of the Russian people to the fascist invasion. The central character of the play is Fyodor Talanov. This is a man with a “difficult” past who returned from prison. He is angry with people, deeply offended by the injustice done to him. But the idea of ​​the play is that at the moment of severe trials it is not the time to remember previous grievances.

At the same time, K. Simonov's play "Russian People" appeared. Love for one's land, a sense of patriotism is refracted in the character of each hero of the play in his own way. The battalion commander Safonov is first and foremost a soldier. His principle: “Stop Safonov, and not a step back! Die, but stop! Take ten wounds, and stop!” For the young intelligence officer Valya, the concept of Motherland is associated, first of all, with her native places. “In Novo-Nikolaevka we have a hut on the edge of the village and near a river and two birch trees. I hung a swing on them. They tell me about my homeland, but I remember all these two birch trees.” K. Simonov's heroes pay a high price for their beliefs, but do not betray them. Within one year, performances of “Russian People” were staged in 150 theaters across the country.

A remarkable event on the theater stages was the performance based on A. Korneychuk’s play “Front”. The play tells the story of how the hero of the civil war, a distinguished front commander in the past, Ivan Gorlov, became hopelessly behind the times. Surrounded by flatterers and sycophants, he believed in his infallibility. By denouncing Ivan Gorlov, the author shows people who are not only courageous, but also know how to wage war in a new way.

During the war years in besieged Leningrad, A. Kron wrote a play about submariners, “Fleet Officer,” which was staged by the Red Banner Baltic Fleet Theater and the Moscow Art Theater.

We focused only on some topics, named only some theaters that fought on the fields of the Great Patriotic War.

Art. True to their professional and moral duty, more than 900 artists went to the front. They were witnesses and participants in the ongoing events of the Great Patriotic War. The artists made sketches in their travel albums. The numerous sketches they created represent invaluable artistic and documentary material.

The first to respond to the events of the war were artists Kukryniksy with the poster “We will ruthlessly defeat and destroy the enemy.” Soon I. Taidze will create his own poster “The Motherland Calls”. This poster became a kind of symbol of the Great Patriotic War.

During the war years, thousands of posters, leaflets, and postcards were created. And to this day the posters “Warrior of the Red Army, save” by V. Karetsky, “We are drinking the water of our native Dnieper. We will drink from the Prut, Neman and Bug” by V. Ivanov, “Let’s get to Berlin” by L. Golovanov live in our minds.

There were also satirical posters. Often, the heroic was combined in them with the satirical, intertwining into a single whole. This was especially evident in the “TASS Windows” posters, which, in essence, revived the famous “Growth Satire Windows”. The posters were extremely popular not only here, but also in other countries of the world: in the USA, England, Turkey, China, Iran, Sweden.

Along with documentary and reportage sketches, picturesque paintings were created that depicted the grief and suffering of the people, their heroism, courage, the courage of the soldiers, and the unbending faith in victory. One of these paintings was the work of A. Plastov “The Fascist Has Arrived”. In it, the artist’s protest against cruel, senseless murder merges with pain for the desecrated land. The expression of this pain is the image of a murdered shepherd boy against the backdrop of the sad beauty of his native nature.

Quite a few paintings were created depicting traces of the barbaric bombing of peaceful cities and villages, murders, executions, and abuses committed by the Nazis on people. These are the paintings "For what?" Y. Nikolaeva, “Execution” by V. Serov, “Into Slavery” by G. Ryazhsky, “Slave Owners” by T. Gapenko. Turning to the people's life during the war years, S. Gerasimov in the film "Mother of the Partisan" showed the people's resistance to the enemy, the moral superiority of the Soviet people, who retained fortitude and dignity in the face of death. The painting shows two figures in close-up: a simple Russian woman, whose son will be shot in a few seconds, and opposite her is an SS executioner. The artist contrasted the proud image of his mother standing on her native land with the image of a fascist doomed to death. The artists showed not only the suffering and misfortune of the people, but also the strength of military resistance to the enemy. K. Yuon’s painting “Parade on Red Square on November 7, 1941” captured with documentary accuracy a memorable day for our people, when soldiers went to the front straight from the square.

A big event of that time was A. Daineka’s painting “The Defense of Sevastopol”. The author showed not only the open battle of the sailors with the enemy, but also the spirit of the sailors, their heroism.

A huge contribution to the formation of moral spirit and hatred of the enemy was played by the masters of the Studio of Military Artists named after M. B. Grekov: I. Evstigneev, K. Finogenov, P. Krivonogov.

During the war years, the historical genre developed. In the midst of the war, P. Korin creates a picture

A continuation of the historical theme was A. Bubnov’s painting “Morning on the Kulikovo Field”. It shows a disturbing moment of the battle. Dmitry Donskoy is shown against the background of an unfurled battle flag with the image of Christ. The artist thereby shows not only the fair nature of the struggle of the Russian people, but also the uncompromising nature.

The portrait genre occupied a prominent place in the fine arts. The artists created a portrait gallery of images of military leaders, officers, privates, and partisans who fought behind enemy lines. We can’t count them all, let’s just name a few “Portrait of Marshal of the Soviet Union G.K Zhukov” N. Krona, “Hero of the Soviet Union Guard Major General Panfilov”. V. Yakovleva. Pershudtsev captured the legendary participants in the storming of the Reichstag - sergeants M.A. Egorov and M. Kantaria.

Music. The beginning of the Great Patriotic War mobilized the entire public to fight fascism. A large detachment went to the front. Many composers and professional musicians participated in propaganda brigades in the active army.

The creative activity of composers acquired a specific and clear focus: “Everything for victory!” On the first day of the war, V. Surkov’s “Song of the Brave” was created, and on the fourth day of the war, the following sounded over the whole world:

Get up, huge country,

Stand up for mortal combat

With fascist dark power

With the damned horde!

This song by A.V. Alexandrov to the words of V.I. Lebedev - Kumach became the anthem of the people who stood up to defend the Fatherland. This song was in the ranks of the warriors, of all our people. Its role cannot be overestimated today.

During the war, lyrical songs acquire mass significance, becoming the spiritual support of soldiers, a musical connection with the Motherland for which they are fighting. "Oh, my fogs, they are foggy." V. Zakharova, "Goodbye, cities and huts." V. Solovyova - Sedova, "Vasya - Cornflower". A. Novikova, "The Treasured Stone". B. Mokrousova. ""In the dugout"" K. Listov, ""Dark Night"". N. Bogoslovsky and others.

A significant contribution to the formation of the patriotic spirit is brass orchestra music. Marches were created as a direct response to an ongoing event. The marches were also dedicated to the exploits of individual commanders: “Captain Gostello” by N. Ivanov-Rodkevich, “Rokossovsky” by S. Chernetsky, and created a generalized artistic image of the people’s struggle against the invaders. "Glory to the Guardsmen" by N. Chemberidzhi, "People's Avengers" by N. Ivanov - Radkevich and others.

D. Shostakovich's "Seventh Symphony" became a perfect triumph - an artistic and historical discovery. It was written in besieged Leningrad. The symphony became a powerful weapon in the fight against the enemy. “I dedicate my Seventh Symphony to our fight against fascism, our coming victory,” to my hometown Leningrad,” the author wrote on the pages of Pravda on March 29, 1942. After these words, the symphony received another name, “Leningrad.”

Its premiere took place on March 5, 1942 in Kuibyshev, and on August 9 it was performed in besieged Leningrad. The success of the symphony was enormous. Within a short time it was heard in many countries around the world. The world's leading conductors fought for the right to perform it. In the United States alone, it was performed 62 times during the 1942-43 season. Concerts turned into rallies in support of warring Russia. American writer M. Gold wrote: “Shostakovich may be the greatest composer of our time.” The appeal to the heroic-patriotic theme was also noted in the symphonic works of other composers. The most significant works are: “Second Symphony” by A. Khachaturian, “With a Bell” and “Fifth Symphony” by S. Prokofiev. But the most significant event in his work was the opera “War and Peace”, written based on the novel by L. Tolstoy. The theme of Russia's military history has become the basis in musical theater. “Suvorov” by S. Vasilenko, “Dmitry Donskoy” by V. Kryukov, “Emelyan Pugachev” by M. Koval, and A. Khachaturyan’s ballet “Gayane” appeared.

It should be noted the opera by D. Kobalevsky "Near Moscow" ("On Fire"). With great force, expressing the horrors of the enemy invasion, grief and suffering of the people. It is not possible to enumerate all the themes of the genre of musical culture of the Great Patriotic War, and only a small part of the named works indicates that the entire musical community considered themselves wars, whose weapon was music.

Film art. Film workers considered themselves mobilized and called to the front. The main content, the main task becomes the spiritual mobilization of the people aimed at fighting the enemy. The first to respond to the events of the first days of the war were documentarians. Cameramen took part in all operations, filming from airplanes, tanks, and on the decks of warships. Many of them were thrown behind enemy lines, where they participated in raids by partisan detachments and filmed the daily feat of the “people's avengers.”

The first films were released in July 1941: “Girlfriends to the Front”, “Chapaev with Us”. Favorite heroes from the screen addressed the viewer with a call to fight the enemy. "Combat film collections" were created. Such directors as G. Alexandrov, B. Bernet, S. Gerasimov, Vs. took part in them. Pudovkin and others. Viewers saw their favorite actors on the screens - L. Orlova, B. Babochkin, M. Ladynina, N. Kryuchkov, N. Cherkasov and many others.

There was a lot that was imperfect and superficial in the “Combat Film Collections.” However, the films told about popular anger, about people who rose to defend their country. In particular, the film “Feast in Zhirimunka” told about the feat of an old peasant woman who remained in a village occupied by the Nazis in order to take revenge on the Nazis for all the atrocities they committed. She treats uninvited guests to poisoned food, and in order to lull their vigilance, she eats this food with them and dies along with her enemies. In 1942, full-length films about the Great Patriotic War began to be released: “Secretary of the District Committee” by I. Pyryev, a little later “She Defends the Motherland” by F. Ermler, “Rainbow” by M. Donskoy. “She Defends the Motherland” is the story of a simple Russian woman, Praskovya Lukyanova, who lost her husband and son during the Nazi invasion, and led a partisan detachment of people’s avengers.

The films “Two Fighters” by L. Lukov, “A Guy from Our Town”, “Wait for Me” by A. Stolper, “Six Hours After the War” by I. Pyryev, “New Adventures of Schweik” by S. Yutkevich and others were extremely popular. The art of cinematography fought alongside its people. It was able to reveal the patriotism of people because the hero was a participant who fought at the front and in the rear also because the main goal was to serve his people. Films about the great battle of a great country against fascism have become history, but the more time passes, the more valuable they are to us. Fiction films become “documentary” because they capture time. The actors did not play their characters, they were part of their lives.

conclusions

During the war, according to the Extraordinary State Commission to Investigate the Atrocities of the Nazi Invaders, published in Pravda in September 1945, a total of 430 museums out of 991.44 thousand palaces of culture and libraries were destroyed and looted. The houses of the museums of L.N. Tolstoy in Yasnaya Polyana, A.S. Pushkin in Mikhailovsky, I.S. Turgenev in Spassky-Lutovinevo, P.I. Tchaikovsky in Klin. The 12th century frescoes in the St. Sophia Cathedral in Novgorod were irretrievably lost to Russian culture. Paintings by Repin, Serov, Shishkin, and Aivazovsky were lost. All this could not but affect the development of Soviet artistic culture after the war.

The Great Patriotic War united all art workers; they created their own “artistic weapons”, which were next to their people who defended their homeland. It formed courage and hatred of the enemy. Arriving at the fascist lair, the soldiers wrote their hatred on the columns of the Reichstag. Among them are the names of artists. And let their names be painted over today, but the human memory captured in works of art will not be erased.

Self-test questions

1. Name the main features of heroic-patriotic literature of the Great Patriotic War.

2. Name the literary works of the Great Patriotic War.

3. List the works of fine art by A. Daineka, A. Plastov, Kukryniksov.

4. Name the composer of the “Seventh Symphony”

5. List the names of composers who created symphonic works during the Great Patriotic War.

6. Name the films created during the Great Patriotic War that reveal the feat of the Soviet people.

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“Soviet art during the Great Patriotic War”

Introduction…………………………………………………………………………………….3

Main part I:

Theater………………………………………………………………………………… 5

Painting………………………………………………………………………………….6

Sculpture………………………………………………………………………………...8

Architecture……………………………………………………………………………….9

Music………………………………………………………………………………..9

Cinema……………………………………………………………………………………….11

Literature………………………………………………………………………………..15

Part II:

Conclusion……………………………………………………………………………….17

Appendix………………………………………………………………………………18

References………………………………………………………………………………..19

Introduction

No army in the world

did not have such strength as ours

art, our literature...

V. I. Chuikov

(Marshal of the Soviet Union)

For most Soviet people, the war began unexpectedly. The political leadership was also in shock for several days. The war had to be waged after massive repressions in the army.

The Germans captured a huge territory, which included the Baltic states, Ukraine, Belarus, and the Western part of Russia. The enemy reached the Volga and stood under the walls of Moscow.

Thanks to the incredible efforts of soldiers and commanders, home front workers who managed to establish the production of weapons in the required quantities, the Soviet Union managed to reverse the tragic course of events in the winter of 1942-1943, liberate the territory of the USSR and European countries in 1944 and end on May 8, 1945 the most destructive war in Berlin.

It is clear that the victory was achieved not only by military skill and military equipment, but also by the high morale of our soldiers. Soviet multinational art and the friendship of the peoples of the Soviet Union played an important role in preserving and maintaining this spirit.

When choosing a topic, I was guided by the relevance of historical research. Time is unable to erase from people’s memory the greatness and significance of Soviet art during the Great Patriotic War. The memory of the past is an unquenchable fire. These are not just properties of human consciousness, they are a connecting link between the past and the future. To this day, on Victory Day, war songs are sung and monuments to war heroes are erected, which are sacred and indestructible.

The purpose of my research is to prove that during the Great Patriotic War, art played a huge role.

The importance and significance of the presented materials increases due to the fact that today it is important not only to remember the Great Victory and to know about those famous writers, artists, musicians whose works raised the spirit of the Soviet army.

Soviet art “from the first days of the bitter year” was not only a witness - a chronicler, but also an active participant in the Great Patriotic War. It played an important role in mobilizing the spiritual forces of people to repel the enemy.

Everywhere, at the front and in the rear, painters created an artistic chronicle of the Great Patriotic War, painting in the hot wake of battles. Sketches, drafts, and graphic sheets made on the battlefields were often embodied in monumental battle paintings.

The war had a great influence on the spiritual climate of Soviet society. A generation of people was formed, hardened by war, who did not know the fear of mass repressions of the 30s. The hardships endured during the war gave rise to hopes that after victory life would be much better. People have an increased sense of self-worth and a desire to independently comprehend what they have experienced. By participating in the liberation of European countries from fascism, the Soviet people saw abroad as it really was, and not as depicted by mass propaganda. The contrast between the devastated fatherland and the defeated countries, relatively well-fed and prosperous, forced the warriors to think about a lot.

“ Everything for the front, everything for victory.” - this was the universal slogan.

Theater

During the difficult everyday life of the war, meetings with actors and art became a holiday for the soldiers, helping them live, fight, and believe in victory. Hero of the Soviet Union, Colonel General of Aviation M. M. Gromov recalled that “actors at the front were welcome always and everywhere... they appeared at field airfields... the clearing suddenly became an auditorium, and anti-aircraft guns and camouflaged planes became a kind of decoration.” (1.) At the beginning of the war, the front-line theaters that arose in the front-line zone, by the nature of their activities, were close to the front-line brigades, known since the times of the Civil War. They performed with a repertoire of small forms - with various concert and variety programs. But gradually, as the organization strengthened, the work of front-line theaters became enriched and deepened, and their repertoire expanded. It consisted of Soviet military-historical and heroic-patriotic plays, works of classical Russian and foreign drama. The following were successfully staged (or montages based on plays): “A Soldier Walked from the Front” by V. P. Kataev, “A Guy from Our Town” by K. Simonov, “Chapaev” by D. Furmanov, “Twenty Years Later” by M. A. Svetlov , “Man with a Gun”, “Kremlin Chimes” by N. Pogodin, plays by K. Goldoni, A. Ostrovsky, etc. 700 special one-act plays were written for front-line theaters. During the war years, the number of front-line theaters increased; in 1944, there were 25 front-line theaters in the active army. Over the course of 4 war years, front-line theater brigades conducted 1 mil. 350 thousand performances. Such teams included leading Moscow actors. So, for example, A.K. Tarasova read Anna Karenina’s monologue to the front, V.A. Ershov read Satin’s monologue from Gorky’s play “At the Lower Depths.” The artistic directors of programs and concerts for the front were outstanding masters of the Soviet theater: A. D. Dikiy, Yu. A. Zavadsky, S. M. Mikhoels and others. The permanent repertoire of front-line brigades included satirical miniature scenes and poems by A. T. Tvardovsky , K. M. Simonova, excerpts from the plays “Pets of Glory” by A. N. Gladkov, “Russian People” by K. Simonov, “Front” by Korneychuk - in a word, everything that could lift the spirits of the fighters, help them survive and win. Particularly popular among the fighters was the joker and merry fellow, the daredevil and the sage - Vasily Terkin. Terkin - who is he? Let's say frankly: “He's just an ordinary guy... From the first days of the bitter homeland, In the difficult hour of the native land, without joking, Vasily Terkin, you and I became friends.” (2 ). In 1942, for better and more systematic service to the front, 5 front-line theaters of the All-Union Theater Society were created. The largest theaters in the country: Theater named after. Evgenia Vakhtangov, Maly Theatre, Leningrad Academic Drama Theater named after. Pushkin - organized their own front-line troupes. Over the 40 months of operation, the Front Branch of the Vakhtangov Theater performed 1,650 performances and concerts. It was recognized as the best, and after the war all participants in this theater were awarded orders and medals.

The soloists of the Bolshoi Theater of the USSR created 7 front-line brigades and performed 1,140 concerts for the soldiers of the Red Army. From the very first months of the war, artists from the Kyiv Special Military District Theater and the Western Front Theater (formerly the Smolensk Drama Theater) performed at the front. The Moscow Maly Theater gave a performance every Monday, the proceeds from which went to the front fund. A squadron of combat aircraft was built with this money.

On the Leningrad Front, the wonderful Soviet actor N.K. Cherkasov organized a theater of the people's militia. The first concerts were held at the Ropshinsky military airfields. Spectators sat in overalls right on the ground and changed constantly: some flew away, others returned. And the concert was repeated three times in a row from beginning to end.

The theater of the Red Banner Baltic Fleet operated on ships and in naval units of the Leningrad Front. In Leningrad itself, during the blockade, there were performances of the musical comedy theater. It was not easy to get there: tickets were exchanged for rations, bread, and cards. During the cold winter of the siege, the actors appeared on stage in an unheated theater building, but they sang and danced with the same skill as in peacetime.

In the heroic life of besieged Leningrad, the theater turned out to be as necessary as the Kirov plant. “When an accident occurred in Leningrad, and there was no light in the city for about a month, the theater could not work, and the factories worked with smokehouses, the first to receive electricity were the Kirov Plant and the Musical Comedy Theater,” said People’s Artist of the RSFSR N. V. Peltser.

In Moscow, even in the most difficult days, a branch of the Bolshoi Theater, the Musical Theater named after. Stanislavsky and Nemirovich-Danchenko, Regional Theater for Young Spectators.

Many large theater troupes from Moscow and Leningrad, as well as from the capitals of the Union republics that came under occupation, were evacuated to the interior of the country. The Moscow Art Theater was evacuated first to Saratov, then to Sverdlovsk, Maly - to Chelyabinsk, Leningrad Academic Drama Theater named after. Pushkin - to Novosibirsk, Theater named after. Vakhtangov - to Omsk, Theater named after. Mossovet - in Alma-Ata, Bolshoi Drama Theater. Gorky - to Kirov.

These theaters immediately staged modern plays “War” by V. P. Stavsky, “Test” by K. A. Fedin, “Invasion” by L. M. Leonov, “Front” by A. E. Korneychuk, “Russian People” by K. M. Simonova. Moreover, these plays were also performed in national theaters: Ukrainian. I. Franko and them. T. G. Shevchenko, Belarusian Theater named after. Y. Kupala, Armenian Theater named after. G. Sundukyan, Bashkir Drama Theater - this showed the international essence of Soviet patriotism. Plays and performances dedicated to military events were created using national material: “Guard of Honor” by A. Auezov in Kazakhstan, “Mother” by Uygun in Uzbekistan, “Deer Gorge” by S. D. Kldiashvili in Georgia, etc.

In the fall of 1942, many Moscow theaters returned to the capital, Leningrad theaters began to return after breaking the blockade in the spring of 1943. The multinational Soviet theater withstood the harsh trials of the war years with honor and in fact proved its ability to serve its people.

Painting

During the war years there was a rapid revival of sharp political posters and political caricatures (“TASS Windows”, “Battle Pencil” posters, etc.).

P Lakat I. M. Toidze “The Motherland is Calling!” inseparable from the military image of the country.
Women walked with shovels on their shoulders,
Dig trenches under the city of Moscow.
The country looked at me from the poster
Gray-haired with her head uncovered.

Using the expressive techniques of propaganda posters from the Civil War, combining them with the creative experience of pre-war art, the artist created a capacious image of a woman-mother-Motherland, imperiously addressing all citizens of the fatherland.

On the 2nd day, simultaneously with the song “Holy War,” the Kukryniksy poster “We will ruthlessly defeat and destroy the enemy!” appeared. M.V. Kupriyanov, P.N. Krylov, N.A. Sokolov depicted a duel between a Red Army soldier and the leader of the Nazi Reich, who had shed the mask of peace, and filled the poster with the intensity of unyielding will and confidence in the coming war. These were printed posters. But there were also hand-drawn posters.

Artists V. S. Ivanov, A. A. Kokorekin, L. F. Golovanov, V. N. Denis, N. N. Zhukov and others revived the combat tradition of “Windows of GROWTH” in the first days of the war. V. A. Serov, V. I. Kudrov, N. A. Tyrsa, G. S. and O. G. Vereisky, G. N. Petrov, I. S. Astapov and other Leningrad artists fought with the weapon of satire “The Fighting Pencil” "

Over 1,500 hand-made posters were created during the war years by P. P. Sokolov-Skalya, M. M. Cheremnykh, N. E. Radlov, P. M. Shukhmin, G. K. Savitsky and other masters of TASS Windows, which had branches in many large cities of the RSFSR and national republics (“Windows UZTAG”, “Windows KIRTAG”, etc. “Windows TASS” was also distributed abroad (USA, Sweden, India, etc.). The content of “Windows TASS” was varied: calls for vigilance, to strengthen the unity of the front and rear, satirical pamphlets on the enemy, etc.

In addition to topical posters, battle and genre painting predominated during the war. In the first days of the war, the artist A. A. Plastov created the image of an enemy invasion in his works: “The Germans are coming. Sunflowers” ​​(1941), “The fascist flew by” (1942). The compositions of these paintings are built on the “explosive” contrast of the image of a beautiful, peaceful land and the atrocities of the fascist aggressors.

WITH
After many years, the Belarusian artist M.A. Savitsky, who himself experienced the horrors of fascist concentration camps, depicted the enemy invasion in the film “Field” (1973). He filled the picture with a fantastically ominous vision of a burning and collapsing world, whose courageous defenders, dying in abundant golden bread, do not retreat a single step before the onslaught of an inhuman, black force.

X
The artists truthfully depicted the everyday life at the front and at work in wartime, and the horrors of the fascist occupation in the rear. T. G. Gaponenko “After the expulsion of the fascist occupiers” (1943-1946, fellow villagers mourn the bodies of hanged relatives), S. V. Gerasimov “Mother of the Partisan” (1943, 1949-1950), B. M. Nemensky “Mother” (1945 ), K. F. Yuon “Parade on Red Square on November 7, 1941 (1949), Y. D. Romas “Winter salvoes of the Baltic” (1942), A. A. Deineka “Defense of Sevastopol” (1942; compressed space The painting is filled with a physically tangible confrontation between irreconcilable forces).

The image of the great past is glorified in the Kukryniksy’s painting “Flight of the Nazis from Novgorod” (1944-1946), where the retreating barbarians set fire to the Novgorod Detinets, and the figures of the “Millennium of Russia” monument, sawn by the invaders, are scattered on the snow. The formidable, majestic beauty of the monumental Church of St. Sophia seems to embodied the idea of ​​​​inevitable historical retribution to the invaders. Many artists themselves were on the battle fronts, during the occupation.

Portrait artists rushed to capture portraits of folk heroes. The “Portrait of the Hero of the Soviet Union, Major General I.V. Panfilov” (1942), the legendary commander of the 316th Infantry Division defending Moscow, is strictly documented. “Portrait of the Hero of the Soviet Union, pilot A. B. Yumashev” (1941) by P. P. Konchalovsky was written with the mood. “Portrait of the Partisan Vlasov” (1942) by V. A. Serov is accurate. Without excessive pathos, “Portrait of Twice Hero of the Soviet Union S. A. Kovpak” (1945) was painted by the artist A. A. Shovkunenko. Wonderful portrait works were created by Pavel Korin. He turned to the glorious past of his homeland and painted the triptych “Alexander Nevsky” (1942-1943). In 1945, he completed a ceremonial portrait of Marshal G.K. Zhukov.

During the war, a lot of pencil drawings and portraits were made for newspapers and magazines. Some sketches later became paintings, such as, for example, a wonderful genre painting inspired by Tvardovsky’s poem “Vasily Terkin” “Rest after the battle” by Yu. M. Neprintsev.

The graphic works are interesting, truthful and emotional. A series of portraits of the creative intelligentsia of besieged Leningrad was created by the graphic artist G. S. Vereisky. His portraits are distinguished by their complexity and capacity of psychological characteristics (“Portrait of Academician Orbeli”, 1942, director of the State Hermitage, a world-famous orientalist scientist remained in the surrounded city and continued to work). Documentary series by D. A. Shmarin “We will not forget, we will not forgive!” (1942). A.F. Pakhomov in the graphic series “Leningraders in the days of war and siege” (1942-1944) recreates footage of the life of besieged Leningrad (“For water on the Neva”, “To the hospital”, “In the center of defeat”, “Fireworks in honor of the lifting blockade” - the inhuman tests are over).

Artists have depicted Victory Day in different ways. National rejoicing in P. A. Krivonogov - “Victory” (1945-1947), a joyful family meeting after a long separation in V. N. Kostetsky - “Return” (1945-1947), the agony of the fascist lair in the Kukryniksy - “The End.” The last days of Hitler’s headquarters in the dungeon of the Reich Chancellery” (1947-1948).

Sculpture

The unparalleled heroism of our soldiers was sung by sculptors. Sculptor A. O. Bembel created the image of the Soviet pilot Nikolai Gastello (1943), who made the first “fire ram” on the 5th day of the war. The composition of the portrait is likened to the tongue of a rising flame.

Sculptors V. I. Mukhina, M. G. Manizer, V. V. Lishev, S. M. Orlov, S. D. Lebedeva, E. F. Belashova, Z. I. Azgur dedicated their works to the war and its heroes. N.V. Tomsky, V.B. Pinchuk, Z.M. Vilensky, L.E. Kerbel, E.V. Vuchetich and others. Sarra Dmitrievna Lebedeva (1862-1967) continued to create excellent psychological portraits (“Portrait of A. T. Tvardovsky”, 1943).

E. F. Belashova created the courageous and lyrical image of “Unconquered” (1943). V.I. Mukhina completed a general portrait of “Partisan Woman” (1943), stern and unbending. The portraits created by Mukhina in 1942 of Colonel B. A. Yusupov and I. L. Khizhnyak are distinguished by their classical severity.

In 1942, M. G. Manizer created a sculptural portrait of Zoya Kosmodemyanskaya, a girl who became a symbol of heroism and devotion to the Motherland. The war years became the time of the highest patriotic upsurge of Soviet art.

After the end of the Great Patriotic War, this theme did not leave the fine arts. Artists, sculptors, and architects perpetuated the memory of historical battles and war events, the feats of the Soviet people, and individual heroes in paint, stone, concrete, and metal.

Moreover, this topic was addressed by artists who were not in the war (E. E. Moiseenko “Victory”, 1970-1972, etc.). The further the events went, the less ostentatious pathos there was in the works, the more personal understanding of what was experienced during the war.

Architecture

During the war years, construction was carried out related to the needs of wartime - defensive and industrial, as well as, to a small extent, in areas remote from the front - housing.

Since 1944, as enemy-occupied territories were liberated, the destruction of populated areas and industrial enterprises was restored.

The main task of wartime architecture and construction was the relocation of enterprises inland, the construction of new and reconstruction of existing factories in the Urals, Siberia and Central Asia; During the war years, 3,500 industrial enterprises were built. Simultaneously with the factories, factory settlements arose, which were then built up mainly with low-rise barracks-type buildings. The war brought great destruction. Cities and villages lay in ruins. In 1943, the Committee for Architectural Affairs was created to coordinate the restoration of human settlements. Many cities suffered so much during the war that they were rebuilt. These include the hero city of Volgograd. It underwent a complete redevelopment and improved landscaping (architects - authors of the master plan: K. Alabyan, V. Simbirtsev, N. Polyakov, A. Pozharsky, E. Levitan, etc.). Minsk was practically rebuilt.

M music

"Holy war"

Music and musical life were subordinated to wartime. In the first days of the war, a song was written - the musical emblem of the Great Patriotic War "Holy war" , music for the poems by V. I. Lebedev-Kumach was written by composer A. V. Alexandrov. This song began its journey on one of the June days of 1945 on the square of the Belorussky Station in Moscow, when trains with soldiers were preparing to be sent to the front. It was performed by the Red Banner Ensemble of the Red Army under the direction of A. Alexandrov, the author of the song.

P “Katyusha” gained almost legendary popularity. Written in peacetime, it was sung everywhere during the war, and a variety of poems were chosen to its melody. After the war, “Katyusha” became a kind of friendship password. It was known in many countries and sung in different languages. When its author, the composer Blanter, came to Italy, local newspapers wrote that Signor “Katyusha” had arrived in the country.

The war entered not only the song, but also the symphony. In besieged Leningrad, when Shostakovich was on duty in a group of air defense vigilantes protecting the building of the conservatory, the 7th symphony, called “Leningrad”, appeared. This is a work about the war, about the perseverance and unparalleled courage of the Soviet people, about their unshakable faith in victory. In the first movement, Shostakovich gave a merciless portrait of fascism: the dull mechanical theme of the march became a symbol of its inhumanity.

In 1943, Shostakovich wrote the 8th symphony. It conveys the tragedy of the war with its suffering and millions of victims, and faith in the victory of the Soviet people. “A symphony of the greatness of the human spirit and about the native land” - this is how S. S. Prokofiev described the content of his 5th symphony. His 6th symphony bears the reflection of war.

Many musicians fought the enemy in the ranks of the Soviet Army. Those who remained in the rear gave their talent and their art to the front. 474 thousand concerts were given by pop artists and musicians at the forefront of the active army. K. I. Shulzhenko sang over 500 times in front of the soldiers of the Leningrad Front in the first year of the war. Under enemy bullets, arias from operas, songs, and works of chamber and symphonic music sounded.

More than 60 variety front-line brigades operated at the front. Pop artists gave concerts on all fronts of the Patriotic War - on land and water, it happened, and under water, for example, in the cockpit of a submarine, and in the air, during flights on board military transport aircraft. More than 600 pop artists were awarded orders and medals.

Music inspired not only soldiers and home front workers. When many theaters and performing groups in Moscow and Leningrad and cities temporarily occupied by the enemy were evacuated to the interior of the country, radio became the center of musical life in them. On the radio, the whole country listened to the voices of A. V. Nezhdanova, N. A. Obukhova, S. Ya. Lemeshev, the playing of pianists Gilels, S. T. Richter, violinist Oistrakh and many other famous and beloved artists. In besieged Leningrad, the Radio Committee orchestra performed only during the most difficult winter for the cities, 1941-1942.

During the war, new groups emerged - the State Russian Song Choir under the direction of A. V. Sveshnikov, the Voronezh Russian Folk Choir under the direction of K. I. Massalitinov, conservatories were opened in Alma-Ata, Kazan, the Gnessin Musical and Pedagogical Institute in Moscow, etc. .

Intensive scientific and critical-journalistic activity continued. Newspapers were published where articles about music and collections “Soviet Music” were published. The outstanding Soviet musicologist B.V. Asafiev wrote his works in Leningrad.

The Soviet people fought not only for their freedom, but also for the salvation of world culture. Interest in Soviet art was unusually great in the world. The performance of Shostakovich’s “Leningrad Symphony” was a real triumph in the West. On June 22, 1942, the premiere took place in London, and on August 19, it was conducted in New York by A. Toscanini. “A country whose artists in these harsh days are able to create works of such immortal beauty and high spirit is invincible,” this is how one of the American critics expressed his impressions of the symphony.

Movie

Newsreels came to the forefront as the most efficient form of cinema. Wide spread of documentary filming, prompt release on screen foreign magazines and thematic short and full-length films - film documents allowed the chronicle as a type of information and journalism to take a place next to our newspaper periodicals.

Many special films created by masters of popular science cinematography introduced war participants to the various equipment that their country armed with to fight against the fascist invaders; a number of films talked about the tactics of modern combat; a significant number of instructional pictures helped the population of areas subject to enemy air attack to organize local air defense.

Different than before the war, but still a powerful means of ideological education of the masses, art cinematography became. In an effort to immediately reflect the events of the Second World War, the masters of artistic cinematography turned to a short propaganda story. This choice was predetermined mainly by two circumstances. The first was that the events of the beginning of the war did not provide artists with sufficient material for a generalized display of military operations. And in a short story it was possible to tell about the heroes, to tell them in such a way that their exploits would inspire thousands and tens of thousands of soldiers, officers, partisans, and home front workers to new heroic deeds. The heroic and satirical short story in cinema should have and did occupy the same place as the front-line essay occupied in literature.

Feature film themes:
1) Patriotism.
2) Heroism.
3) Hatred of fascism.
4) The courage of women and children.
5) Guerrilla warfare.

Genres became more diverse by the end of the war: propaganda short story, comedy, historical tragedy, historical-revolutionary and historical films, works of classical literature were filmed.

During the Great Patriotic War there was a complete restructuring of film production. During the Second World War, Soviet cinema came to the fore with the following task: the mobilization of the spiritual forces of the Russian people. During these years, cinema became the best means of political propaganda.

The film itself has changed. Mobility and timeliness of artistic response to events have become especially important. Therefore, the following genres were common: documentary-journalistic films, short stories, war dramas.

The first seven issues of the "Combat Film Collections", consisting of short films, were released by Mosfilm and Lenfilm. But in the fall of 1941, in besieged Leningrad, and even in Moscow, which was subject to air bombing and lacking electricity, the continuation of filming feature films became impractical and impossible. And the government decided to evacuate the Feature Film Studio to the rear.

The process of evacuation and organization of production in a new location could not but affect the production of films. However, in the most difficult conditions of a tense war economy, Moscow and Leningrad film workers were able to quickly develop a base in Alma-Ata and begin creative production activities.

During the war, more than 400 issues of the Soyuzkinozhurnal, 65 issues of the News of the Day film magazine, 24 front-line film releases, and about a hundred documentaries were released, the subjects of which were the main milestones of the Red Army’s struggle against the invaders, the largest battles and the heroic everyday life of workers on the home front. Theater workers also did not remain aloof from the events. The new performances they created in creative collaboration with playwrights ("On the Eve" by A. Afinogenov, "Russian People" by K. Simonov, "Invasion" by L. Leonov and others) showed the heroism of the Soviet people in the war, their resilience and patriotism. During the war years, a huge number of theatrical and artistic performances by concert teams and individual performers took place at the front and in the rear. The theme of creative work, revealed in the plays of N. Pogodin, A. Afinogenov, V. Kataev and other authors, occupied a large place in the theater of this time. In “The Ax Poem” by N. Pogodin, staged in 1931 at the Theater of the Revolution (now the Vl. Mayakovsky Theater) by A. D. Popov, the images of the steelworker Stepan and his faithful assistant Anka were created by Dmitry Nikolaevich Orlov (1892 - 1955) and Maria Ivanovna Babanova (b. 1900). The spirit of noble concern for the fate of the work entrusted to him illuminated the image of the head of the construction of a large plant, “commander of the five-year plan” Guy in the play “My Friend”. Guy, played by Mikhail Fedorovich Astangov (1900 - 1965), is a real leader of a new type. In performances on contemporary themes with success

Older generation artists also performed. In 1931, Nikolai Vasilyevich Petrov (1890 - 1964) staged A. Afinogenov’s play “Fear” at the Leningrad Academic Drama Theater. An actor of the finest psychological techniques, Illarion Nikolaevich Pevtsov (1879 - 1934) showed a turning point in the consciousness of the eminent scientist Professor Borodin, who came to the understanding that science is becoming in our days a field of intense ideological and political struggle. The role of the old Bolshevik Klara, who enters into a heated argument with Borodin at a scientific debate, was superbly played by Ekaterina Pavlovna Korchagina-Alexandrovskaya (1874 - 1951).

The Soviet theater not only introduced new themes and images onto the stage, but also filled old forms with new content, in particular, it rethought the traditional genre forms of drama. In 1933, A. Ya. Tairov staged “Optimistic Tragedy” Vs. Vishnevsky at the Moscow Chamber Theater. Revealing his production concept, Tairov emphasized that “... it was in the collision of two principles - tragic and optimistic - that we saw the synthesis that was supposed to lead us onto a new road, to a new understanding of the tragic.” (3). This new understanding of the tragic was manifested in the image of the Woman Commissioner, created by Alisa Georgievna Koonen (1889 - 1974).

The role of Alexei in this performance was performed by Mikhail Ivanovich Zharov (b. 1900). In the 30s, the dramaturgy of the founder of the literature of socialist realism, M. Gorky, widely appeared on theater stages. Among the productions of Gorky’s plays are “Yegor Bulychev and Others” at the Evg. Vakhtangov (1932, directed by B. E. Zakhava) and “Enemies” at the Moscow Art Theater (1935, directed by Vl. I. Nemirovich-Danchenko. With the dramaturgy of M. Gorky, socialist realism entered the Soviet stage with a firm step in the 30s. This was required life, stage truth demanded this. And from now on, socialist realism became the fundamental creative method of the Soviet theater.

N The irreconcilable collision of two worlds - the bourgeois exploiters and the workers - with amazing life truth and genuine drama was shown in the play "Enemies" on the stage of the Moscow Art Theater. The world of the former was represented by the inhuman, cruel prosecutor Nikolai Skrobotov (N.P. Khmelev), a handsome couple of landowners-manufacturers, the Bardins. V.I. Kachalov, who played the role of Zakhar Bardin, and Olga Leonardovna Knipper-Chekhova (1868 - 1959) in the role of Bardin’s wife, with hidden satire, exposed the hypocritical meanness of bourgeois liberalism. Mikhail Mikhailovich Tarkhanov (1877 - 1948) portrayed General Pechenegov as a stupid soldier. They were opposed by the professional revolutionary Bolshevik Sintsov (played by M.P. Bolduman) and the old worker Levshin, shown in all the spiritual breadth of his nature by Alexei Nikolaevich Gribov (b. 1902). In the 1930s, the socially in-depth exploration of the classics continued. A remarkable achievement was the new production at the Maly Theater of Griboedov’s comedy “Woe from Wit” in 1938, carried out by P. M. Sadovsky and I. Ya. Sudakov. A superbly coordinated ensemble of the Maly Theater's greatest masters recreated the social atmosphere of the time on the eve of the Decembrist uprising. Chatsky, performed by Mikhail Ivanovich Tsarev (b. 1903), is a young man who is both passionately in love and sharply, irreconcilably rejecting the lies and hypocrisy of Famus’s world. This world was personified in the images of Famusov (P. M. Sadovsky and M. M. Klimov), the despotic power Khlestova (V. O. Massalitinova), Princess Tugoukhovskaya (E. D. Turchaninova), Countess Khryumina (V. N. Ryzhova ), Zagoretsky, satirically mercilessly depicted by I.V. Ilyinsky, and in other characters.

B.V. Shchukin as V.I. Lenin. The play “Man with a Gun” by N. Pogodin. Theater named after Evg. Vakhtangov. Moscow. 1937.

An interesting experience was the stage implementation of the works of L.N. Tolstoy, undertaken by Vl. I. Nemirovich-Danchenko in dramatizations of the novels “Resurrection” and “Anna Karenina” in 1930 and 1937. at the Moscow Art Theater. Rejecting the philosophy of “non-resistance to evil,” the theater showed in “Resurrection” the great power of Tolstoy the realist. V.I. Kachalov, in the unique role of “From the Author,” gave a modern assessment of the events taking place on stage. In Anna Karenina, the drama of Anna's fate, soulfully conveyed by Alla Konstantinovna Tarasova (1898 - 1973), was the result of the collision of her living, reverent feelings with the cold, inhuman morality of the brilliant imperial Petersburg (4 ).

In the 1930s, Soviet theaters also turned to foreign classical drama. Among the best performances is Shakespeare's Othello (Maly Theatre, 1935). The leading actor was an outstanding representative of the romantic tradition of the Russian stage - Alexander Alekseevich Ostuzhev (1874 - 1953). The humanistic content of the works of the great English playwright was deeply revealed in the play “Romeo and Juliet” at the Theater of the Revolution (directed by A. D. Popov). A brilliant duet in the play “Much Ado About Nothing” at the Evg. Vakhtangov was composed of Benedict - Ruben Nikolaevich Simonov (1899 - 1968) and Beatrice - Cecilia Lvovna Mansurova (1897 - 1976).

K. S. Stanislavsky staged Moliere’s “Tartuffe” in a new way, showing living people with their feelings and passions, and not conventional masks. This performance was completed in 1939, after Stanislavsky's death, by his student, performer of the title role, Mikhail Nikolaevich Kedrov (1894 - 1972). The role of Orgon, “obsessed with Tartuffe,” was played by Vasily Osipovich Toporkov (1889 - 1970).

Successes in the development of the Soviet theater, which established the method of socialist realism in its artistic practice, made it possible to solve the most serious task - to recreate the image of V.I. Lenin on stage (see article “Films about Lenin”).

This problem was solved most convincingly in the productions of the plays “Man with a Gun” by N. Pogodin at the Evg. Vakhtangov and “Pravda” by A. Korneichuk at the Theater of the Revolution. These performances were shown for the 20th anniversary of October. They were staged by R. N. Simonov and N. V. Petrov, and the image of V. I. Lenin was created in the first by B. V. Shchukin, in the second by M. M. Straukh, who managed to show, first of all, Lenin - the tribune. B.V. Shchukin embodied the image of the leader more fully, conveying Lenin’s sincerity, the scale of Lenin’s brilliant thought and simplicity in dealing with people. Lenin's connection with the people, with the masses, the ability to listen to their voice and lead them behind him was consistently revealed by Shchukin in every scene, and especially impressively in the scene of the meeting of Vladimir Ilyich with the soldier Shadrin (his role was played by I.M. Tolchanov).

Performances dedicated to V.I. Lenin showed with particular force and persuasiveness the fruitfulness of the fundamental principles of socialist realism. The victory of this creative method was the pattern of development of Soviet stage art, aimed at the communist education of the broad masses of the people, at the formation of high moral, humanistic ideals of Soviet youth.

The heroic orientation of the Soviet theater manifested itself with renewed vigor during the Great Patriotic War. Three plays became decisive in the theater's repertoire during this harsh time. These are “Front” by A. Korneychuk, “Russian People” by K. Simonov and “Invasion” by L. Leonov.

And after the great victory came, live performances about the exploits of Soviet people in the Great Patriotic War were staged on theater stages with great success. One of the best is “The Young Guard” (based on the novel of the same name by A. Fadeev), staged by N.P. Okhlopkov in 1947 on the stage of the theater, now named after Vl. Mayakovsky, Developing the military-patriotic theme, theaters turned to the work of modern writers. By | The works of V. Bykov “Last Chance” (Belarusian Theater named after Y. Kupala), B. Vasiliev “And the dawns here are quiet...” (Moscow Drama and Comedy Theater on Taganka) were staged performances that give rise to thoughts in the viewer about social and moral problems modernity. The theme of participation in the heroic past determines the civic pathos of modern productions on a military theme. These are the plays “They Were Actors” by V. Orlov and G. Nathanson (Crimean State Russian Drama Theater named after M. Gorky), “Echo of the Bryansk Forest” by S. Sharov (Bryansk Drama Theater), “The Ninth Wave” by A. Sofronov about the battles in Malaya Zemlya (Uzbek Drama Theater named after Hamza), etc.

Literature

Never communication between writers and people

It was not as crowded as during the war.

A. Prokofiev

Russian literature of the Second World War period became literature of one theme - the theme of war, the theme of the Motherland. The writers felt like trench poets (A. Surkov), and all literature as a whole, in the apt expression of A. Tolstov, was the voice of the heroic soul of the people.

In the first days of the war, A. Surkov’s poems “Song of the Brave” appeared in the Pravda newspaper, and then “The Holy War” by V. Lebedev-Kumach; Journalistic poems and articles, essays and stories by various Soviet writers were published daily. In those days, “the artist’s word was in service with the army and the people,” wrote A. Sholokhov (5 ).

The front needed “spiritual ammunition”, people needed to be inspired, to strengthen faith in victory. Propaganda and journalistic skills came in handy here, helping writers to quickly respond to a rapidly changing situation. Many Soviet writers went to the front as war correspondents for central newspapers, radio, and the Sovinformburo (K. Simonov, A. Tvardovsky, B. Gorbatov, B. Polevoy, V. Grossman, M. Sholokhov, A. Surkov, S. Mikhalkov, A. Gaidar, N. Tikhonov, Vs. Vishnevsky), many as soldiers (P. Tychina, P. Antokolsky, M. Rylsky and many others). One third of the USSR Writers' Union joined the army as volunteers in the first days of the war. Many young poets died in the war, among them Nikolai Mayorov, Georgy Suvorov, Nikolai Ovsyannikov, Pavel Kogan, Boris Kostrov and many others.

Poems by N. N. Aseev, M. V. Isakovsky, O. F. Bergolts, A. A. Surkov, journalistic articles by A. N. Tolstoy, A. A. Fadeev, M. A. were published in newspapers and heard on the radio. Sholokhova and others.

From June 27, “TASS Windows” - political propaganda posters - were hung in Moscow, and then in other cities, so that the population knew the situation at the front and in the rear of the country. Poets A. A. Aduev, D. Bedny, S. I. Kirsanov, A. A. Zharov and others took an active part in their creation. Poster “The Germans are grieving: the Russians are not fighting according to the rules!” accompanied by the following poems by D. Bedny:

Goebbels wants to hide his anxiety:
He blames the Russians
What are they leading, by God,
Not according to the rules of war!
What should I say to the Soviet soldiers?
“We beat the reptiles, we don’t hide,
Not according to German rules,
And according to your own rules!
Here is the caption to the poster by S. Marshak:
- My general, through the glass of binoculars
Look: is the front far away?
- He’s so close, alas,
That I'm already without a head!..

Such works as “The Science of Hatred” by M. Sholokhov, “The People are Immortal” by V. Grossman, “Front” by A. Korneychuk, “Vasily Terkin” by A. T. Tvardovsky appeared in newspapers. Journalistic stories sometimes turned into entire cycles: “Stories of Ivan Sudarev” by A. N. Tolstoy and others. In wartime literature, the words “Russia”, “Russian” began their second life, this spoke of the growth of self-awareness (“We are Russians” Sun Vishnevsky, “Glory of Russia” by L. Leonov, “Russia” by A. Prokofiev, “Russian People” by K. Simonov, etc.).

Writers devoted major works to the problems of a soldier’s maturation in battle (A. A. Bek. The story “Volokolamsk Highway”, 1943-1944). The novels “They Fought for the Motherland” by M. Sholokhov and “The Young Guard” by A. Fadeev were dedicated to the exploits of the Soviet people on the war fronts and behind enemy lines. During the war, the works of writers of the Union republics became widely known: “The Sacred Blood” by Aibek, “The Tsar Has Fallen” by S. Zorian, etc.

The epic poem also received development. During the war years, the poem “Kirov with us” by N. S. Tikhonov, “Zoya” by M. I. Aliger, “Leningrad Poem” by O. F. Bergolts, “Pulkovo Meridian” by V. Inber and others appeared.

During the war years, the patriotic lines of Pushkin, Lermontov, Yesenin, Blok, Rustaveli, and Shevchenko sounded loudly. The protracted “dispute among the classics” was over. The classics stood in battle formation. During the war years, the demand for historical literature increased sharply. Major novels appeared: “Bagration” by S. N. Gorbatov, “Port Arthur” by A. N. Stepanov, “Emelyan Pugachev” by V. Ya. Shishkova, etc.

Conclusion

Soviet art of the Great Patriotic War period passed the brutal examination of the war years with honor. It continued the best traditions. This was expressed, firstly, in the fact that the connection with people's life turned out to be exceptionally close and strong during the war. All art and literature as a whole strived for a deep understanding of the working people, for the creation of national characters, and for a broad depiction of reality. The successes of Soviet art and literature, secondly, were due to their high ideology and determination. The breadth of historical thinking and understanding of the world-historical role of the Soviet people is also an integral feature of that period in Soviet art and literature. The humanism inherent in our people manifested itself during the Great Patriotic War in the paintings of artists, in the texts of our writers, and in the works of great sculptors with special force.

The great civil experience of all art and literature during the Great Patriotic War had a noticeable influence on all subsequent cultural development. This was expressed not only in the fact that artists constantly turned and are turning to the theme of the Great Patriotic War, revealing more and more new aspects of it, calling up the names of unknown heroes from oblivion, highlighting many heroic events preserved in people's memory, but also more widely. But the most important thing is the strengthened attention of art to people's life, understanding of its historical significance, close interest in the life of the individual, his spiritual world, and finally, the ability and ability to relate specific events and experiences with the larger world of human life.

During the Great Patriotic War, the struggle for freedom and independence
The Motherland became the main content of the life of Soviet people. This fight
demanded from them the utmost exertion of spiritual and physical strength. AND
namely the mobilization of the spiritual forces of the Soviet people during the Great
The Patriotic War is the main task of our literature and our art,
which became a powerful means of patriotic agitation.

Application

History of Soviet art. - M., 1957. P.56.

General history of art. In 6 volumes - M., 1966. T. 6.P.103.

History of the Great Patriotic War of the Soviet Union. 1941–1945. T. 1. M., Military Publishing House, 1960. P. 45.

History of the Great Patriotic War of the Soviet Union. 1941–1945. T. 1. M., Military Publishing House, 1960. From 50..

Zhuravleva A. A., Writers - prose writers during the Great Patriotic War (Heroic pathos of prose of the war years). – M., 1978. P.31.

Poster by I. M. Toidze

“Motherland is calling!”,

A. A. Deinek “Defense of Sevastopol”, 1942

Bibliography

Abramov A., Lyrics and epic of the Great Patriotic War. – M., 1972.

Buznik V.V., Bushmin A.S. et al., Russian Soviet literature: textbook for grade 11 - M.: Prosveshchenie, 1989.

General history of architecture. In 12 volumes - M., 1975. T. 12.

General history of art. In 6 volumes - M., 1966. T. 6.

Zhuravleva A. A., Writers - prose writers during the Great Patriotic War (Heroic pathos of prose of the war years). – M., 1978

Zimenko V. Soviet historical painting. - M., 1970

History of the Great Patriotic War of the Soviet Union. 1941–1945. T. 1. M., Voenizdat, 1960

History of Soviet art. - M., 1957.

Lebedev P. Russian Soviet painting. - M., 1963

Soviet fine art. Painting, sculpture. - M., 1962

Chereyskaya M. Soviet historical painting. - M., 1969.