Landscape Genre as an Object of Criticism in Soviet Culture at the Turn of the 1920s–1930s

Abstract

The turn of the 1920s–1930s is one of the most controversial periods in the history of Soviet culture. There are still many gaps in its study. In particular, the problem of transforming creative and ideological programs of many post-revolutionary art associations remains insufficiently analyzed. The article examines the most influential art organization of the post-revolutionary period — the Association of Artists of Revolution (AKhRR) — taking a more radical stance towards the landscape genre. Initially neutral, this position became extremely critical, even intolerable at the turn of the 1920s and 1930s. An analysis of dozens of articles written by the ideologues of AKhRR reveals the ways how new, “revolutionary” criteria for describing and evaluating landscape paintings were developed and how an extensive system of accusations and a set of mandatory requirements for the genre were formed. Landscape was mostly seen as a “reactionary” genre, that made it possible to hide from modern reality, or, on the contrary, to “smuggle” in the Soviet art alien bourgeois values. The changing attitude towards the landscape also makes it possible to trace the transformation of emotional matrix of the era — the refusal to convey complex feelings, that for a long time were perceived as a basic characteristic of Russian landscape painting. The system of denying the landscape, so carefully developed by the members of the Association, was rejected by Soviet culture already in the mid-1930s. However, the events of the turn of the 1920s and 1930s demonstrate how the pictorial genre became a hostage to the movement of culture towards more radical, “leftist” ideological attitudes.