Свердловские художники в послевоенных художественных выставках, 1946–1952 годы

A.S Ainutdinov

doi:10.51678/2226-0072-2022-1-164-195

Abstract

The article is devoted to studying various aspects of the exhibition process in the post-war Sverdlovsk. For the first time in the Ural art history, the art exhibitions that were held after the Great Patriotic War and had works by Sverdlovsk visual artists on display, are named, described, systematized, and classified in one research. The new data sources used in the research uncover the reasons behind the low levels of participation of Sverdlovsk painters, sculptors, and graphic artists in the All-Soviet and national exhibitions in 1946–1952. When performing the research task, the author achieves the main goal: generating new knowledge about the history of Sverdlovsk visual arts of the post-war period and gaining additional factual information on the Soviet art history of the 1940–1950s through the analysis of various sources. Of significant interest to art studies is a wider perspective on the creative activity of Sverdlovsk painters, sculptors, graphic and other artists analyzed against the background of the general organizational objectives of the Sverdlovsk branch of the Artists’ Union of the USSR and the socio-cultural life of the period, which determined the nature of relations between the authorities and the intelligentsia, and artistic connections between different regions of the USSR.

Highlights

For the first time in the Ural art history, the art exhibitions that were held after the Great Patriotic War and had works by Sverdlovsk visual artists on display, are named, described, systematized, and classified in one research
The new data sources used in the research uncover the reasons behind the low levels of participation of Sverdlovsk painters, sculptors, and graphic artists in the All-Soviet and national exhibitions in 1946–1952
Of significant interest to art studies is a wider perspective on the creative activity of Sverdlovsk painters, sculptors, graphic and other artists analyzed against the background of the general organizational objectives of the Sverdlovsk branch of the Artists’ Union of the USSR and the socio-cultural life of the period, which determined the nature of relations between the authorities and the intelligentsia, and artistic connections between different regions of the USSR

Summary

Introduction

Искусствовед Михаил Герман с негодованием писал о том, что советское искусство 1930‐х годов в 1990‐е годы известно и изучено лучше, чем послевоенное. В 1946–1952 годы в Свердловске распространение получили персональные художественные выставки (отдельных мастеров) и групповые передвижные, а также областные художественные выставки (коллектива свердловских живописцев, скульпторов, графиков, художников декоративно-п рикладного искусства в формате отчетных экспозиций на этапах подготовок для участия лучших работ в республиканских и всесоюзных выставках). После выставки в память о Туржанском в мае 1946 года в двух залах Свердловского дома литературы и искусств были размещены семьдесят работ художника Василия Дерябина, в основном в жанрах портрета и пейзажа.

Results

Conclusion