Art of the period of the Great Patriotic War. Artists during the war

16.10.2019

I Introduction

II. Literature during the Second World War

Sh. Art during the Second World War

3.1. Cinematography and theatrical art.

3.2. Propaganda poster as the main type of fine art during the Second World War.

I . Introduction

During the Great Patriotic War, the struggle for the freedom and independence of the motherland became the main content of the life of the Soviet people. This struggle demanded from them the utmost exertion of spiritual and physical strength. And it is precisely the mobilization of the spiritual forces of the Soviet people during the Great Patriotic War that is the main task of our literature and our art, which have become a powerful means of patriotic agitation.

II . Literature during the Second World War

The Great Patriotic War is an ordeal that befell the Russian people. The literature of that time could not remain aloof from this event.

So on the first day of the war, at a rally of Soviet writers, the following words were heard: “Every Soviet writer is ready to give everything, his strength, all his experience and talent, all his blood, if necessary, to give to the sacred cause. people's war against the enemies of our Motherland." These words were justified. From the very beginning of the war, the writers felt "mobilized and called". About two thousand writers went to the front, more than four hundred of them did not return. These are A. Gaidar, E. Petrov, Yu. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young.

Frontline writers fully shared with their people both the pain of retreat and the joy of victories. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: “We lived our good age as people, and for people.”

Writers lived one life with the fighting people: they froze in the trenches, went on the attack, performed feats and ... wrote.

Russian literature of the period of the Second World War became the 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." The slogan "All forces - to defeat the enemy!" related directly to writers. The writers of the war years owned all sorts of literary weapons: lyrics and satire, epic and drama. Nevertheless, the first word was said by the lyricists and publicists.

Poems were published by the central and front-line press, broadcast on the radio along with information about the most important military and political events, sounded from numerous impromptu scenes at the front and in the rear. Many poems were copied into front-line notebooks, memorized. The poems "Wait for me" by Konstantin Simonov, "Dugout" by Alexander Surkov, "Spark" by Isakovsky gave rise to numerous poetic responses. The poetic dialogue between writers and readers testified to the fact that during the war years a cordial contact was established between the poets and the people, unprecedented in the history of our poetry. Intimacy with the people is the most remarkable and exceptional feature of the lyrics of 1941-1945.

Homeland, war, death and immortality, hatred of the enemy, military brotherhood and comradeship, love and loyalty, the dream of victory, reflection on the fate of the people - these are the main motives military poetry. In the poems of Tikhonov, Surkov, Isakovsky, Tvardovsky one can hear anxiety for the fatherland and merciless hatred of the enemy, the bitterness of loss and the consciousness of the cruel necessity of war.

During the war, the feeling of homeland intensified. Cut off from their favorite occupations and native places, millions of Soviet people, as it were, took a fresh look at their familiar native lands, at the house where they were born, at themselves, at their people. This was also reflected in poetry: heartfelt poems about Moscow by Surkov and Gusev, about Leningrad by Tikhonov, Olga Berggolts, and Isakovsky about the Smolensk region appeared.

Love for the fatherland and hatred for the enemy - this is the inexhaustible and only source from which our lyrics drew their inspiration during the Second World War. The most famous poets of that time were: Nikolai Tikhonov, Alexander Tvardovsky, Alexei Surkov, Olga Berggolts, Mikhail Isakovsky, Konstantin Simonov.

In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyric-epic (ballads, poems).

During the Great Patriotic War, not only poetic genres, but also prose were developed. It is represented by journalistic and essay genres, military stories and heroic stories. Very diverse journalistic genres: articles, essays, feuilletons, appeals, letters, leaflets.

Articles were written by: Leonov, Alexei Tolstoy, Mikhail Sholokhov, Vsevolod Vishnevsky, Nikolai Tikhonov. By their articles they instilled lofty civic feelings, taught them to take an uncompromising attitude towards fascism, and revealed the true face of the "organizers of the new order." Soviet writers opposed fascist false propaganda with great human truth. Hundreds of articles cited irrefutable facts about the atrocities of the invaders, cited letters, diaries, testimonies of prisoners of war, named names, dates, numbers, made references to secret documents, orders and orders of the authorities. In their articles, they told the harsh truth about the war, supported the bright dream of victory among the people, called for steadfastness, courage and perseverance. "Not one step further!" - so begins the article by Alexei Tolstov "Moscow is threatened by the enemy."

Publicism had a huge impact on all genres of literature of the war years, and above all on the essay. From the essays, the world first learned about the immortal names of Zoya Kosmodemyanskaya, Lisa Chaikina, Alexander Matrosov, about the feat of the Young Guards, who preceded the novel The Young Guard. Very common in 1943-1945 was an essay on a feat large group of people. So, essays about night aviation "U-2" (Simonov), about the heroic Komsomol (Vishnevsky), and many others appear. Essays on the heroic home front are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes, but to mass labor heroism. Most often, Marietta Shaginyan, Kononenko, Karavaeva, Kolosov wrote about the people of the rear.

The defense of Leningrad and the battle near Moscow were the reason for the creation of a number of event essays, which are an artistic chronicle of military operations. Essays testify to this: "Moscow. November 1941" by Lidin, "July - December" by Simonov.

During the Great Patriotic War, such works were also created in which the main attention was paid to the fate of a person in the war. Human happiness and war - this is how one can formulate the basic principle of such works as "Simply Love" by V. Vasilevskaya, "It Was in Leningrad" by A. Chakovsky, "Third Chamber" by Leonidov.

In 1942, a story about the war by V. Nekrasov "In the trenches of Stalingrad" appeared. This was the first work of a front-line writer unknown at that time, who rose to the rank of captain, who fought near Stalingrad all the long days and nights, participated in its defense, in the terrible and overwhelming battles waged by our army

The war became a great misfortune for all. But it is at this time that people manifest their moral essence, "it (war) is like a litmus test, like a special developer." Here, for example, Valega is an illiterate person, “... reads in syllables, and ask him what a homeland is, he, by God, will not really explain. But for this homeland... he will fight to the last bullet. And the cartridges will run out - with fists, teeth ... ". Battalion commander Shiryaev and Kerzhentsev are doing their best to save as much as possible human lives to do your duty. They are opposed in the novel by the image of Kaluga, who thinks only about not getting to the front line; the author also condemns Abrosimov, who believes that if a task is set, then it must be carried out, despite any losses, throwing people under the destructive fire of machine guns.

Reading the story, you feel the author's faith in the Russian soldier, who, despite all the suffering, troubles, failures, has no doubts about the justice of the liberation war. The heroes of the story by V.P. Nekrasov live by faith in a future victory and are ready to give their lives for it without hesitation.

Sh. Art during the Second World War

The Great Patriotic War opened the artist's gaze to a scattering of material that concealed enormous moral and aesthetic wealth. The mass heroism of people has given art as human science so much that the gallery of folk characters begun in those years is constantly replenished with new and new figures. The most acute life conflicts, during which the ideas of loyalty to the Fatherland, courage and duty, love and comradeship, were manifested with particular brightness, are capable of nourishing the plans of the masters of the present and future.

3.1. Cinematography and theatrical art.

The theatrical dramaturgy of A. Korneichuk, K. Simonov, L. Leonov and others played an important role in the development of art, starting from the first war years. "Russian people", "Invasion" later, films were made based on these plays.

Agitation assignment and journalism, caricature and poem, a record from a front-line notebook and a play published in a newspaper, a novel and radio speech, a poster figure of an enemy and an image of a mother elevated to pathos, personifying the Motherland - the multicolored spectrum of art and literature of those years included cinema, where many types and genres martial art melted into visible, plastic images.

During the war years, the meaning of different types cinema.

In art, newsreel came to the fore as the most operational type of cinema. A wide spread of documentary filming, prompt release on the screen of newsreels and thematic short and full-length films - film documents allowed the chronicle as a type of information to journalism to take its place next to our newspaper periodicals.

It has been extensively reported in the literature, especially in Soviet time, as many authors shared personal experience and they themselves experienced all the horrors described along with ordinary soldiers. Therefore, it is not surprising that first the military, and then post-war years were marked by the writing of a number of works dedicated to the feat of the Soviet people in the brutal struggle against Nazi Germany. You cannot pass by such books and forget about them, because they make us think about life and death, war and peace, past and present. We bring to your attention a list of the best books on the Great Patriotic War that are worth reading and rereading.

Vasil Bykov

Vasil Bykov (books are presented below) - an outstanding Soviet writer, public figure and WWII participant. Probably one of the most famous authors military novels. Bykov wrote mainly about a person during the most severe trials that fall to his lot, and about the heroism of ordinary soldiers. Vasil Vladimirovich sang in his works the feat of the Soviet people in the Great Patriotic War. Below we look at the most famous novels this author: Sotnikov, Obelisk and Survive Until Dawn.

"Sotnikov"

The story was written in 1968. This is another example of how it has been described in fiction. Initially, the arbitrariness was called "Liquidation", and the plot was based on the author's meeting with a former fellow soldier, whom he considered dead. In 1976, based on this book, the film "Ascent" was made.

The story tells about a partisan detachment that is in great need of provisions and medicines. Rybak and the intellectual Sotnikov are sent for supplies, who is ill, but volunteers to go, since there were no more volunteers. Long wanderings and searches lead the partisans to the village of Lyasiny, where they rest a little and receive a sheep carcass. Now you can go back. But on the way back they run into a squad of policemen. Sotnikov is seriously injured. Now Rybak must save the life of his comrade and bring the promised provisions to the camp. However, he does not succeed, and together they fall into the hands of the Germans.

"Obelisk"

Many were written by Vasil Bykov. The writer's books were often filmed. One of these books was the story "Obelisk". The work is built according to the “story within a story” type and has a pronounced heroic character.

The hero of the story, whose name remains unknown, comes to the funeral of Pavel Miklashevich, a village teacher. At the wake, everyone remembers the deceased kind word, but then the talk of Frost comes up, and everyone falls silent. On the way home, the hero asks his fellow traveler what kind of Moroz has to do with Miklashevich. Then he is told that Frost was the teacher of the deceased. He treated the children as if they were his own, took care of them, and Miklashevich, who was oppressed by his father, took to live with him. When the war began, Frost helped the partisans. The village was occupied by the police. One day, his students, including Miklashevich, sawed the bridge supports, and the police chief, along with his henchmen, ended up in the water. The boys were caught. Frost, who by that time had fled to the partisans, surrendered in order to free the students. But the Nazis decided to hang both the children and their teachers. Before his execution, Moroz helped Miklashevich escape. The rest were hanged.

"Survive Until Dawn"

The story of 1972. As you can see, the Great Patriotic War in literature continues to be relevant even after decades. This is also confirmed by the fact that Bykov was awarded the State Prize of the USSR for this story. The work tells about Everyday life military intelligence officers and saboteurs. Initially, the story was written in Belarusian, and only then translated into Russian.

November 1941, the beginning of the Great Patriotic War. Soviet army lieutenant Igor Ivanovsky, the protagonist story, commands a sabotage group. He will have to lead his comrades behind the front line - to the lands of Belarus, occupied by the German invaders. Their task is to blow up the German ammunition depot. Bykov tells about the feat of ordinary soldiers. It was they, and not staff officers, who became the force that helped win the war.

The book was filmed in 1975. The script for the film was written by Bykov himself.

“And the dawns here are quiet…”

The work of the Soviet and Russian writer Boris Lvovich Vasiliev. One of the most famous front-line stories is largely due to the film adaptation of the same name in 1972. “And the dawns here are quiet…” Boris Vasiliev wrote in 1969. The work is based on real events: during the war, soldiers serving on the Kirov railway prevented German saboteurs from blowing up the railway track. After a fierce battle, only the commander of the Soviet group remained alive, who was awarded the medal "For Military Merit".

“The Dawns Here Are Quiet…” (Boris Vasiliev) - a book describing the 171st junction in the Karelian wilderness. Here is the calculation anti-aircraft installations. The soldiers, not knowing what to do, begin to get drunk and mess around. Then Fyodor Vaskov, commandant of the section, asks to "send non-drinkers." The command sends two squads of anti-aircraft gunners to him. And somehow one of the new arrivals notices German saboteurs in the forest.

Vaskov realizes that the Germans want to get to strategic targets and understands that they need to be intercepted here. To do this, he collects a detachment of 5 anti-aircraft gunners and leads them to the Sinyukhina ridge through the swamps along a path he knows alone. During the campaign, it turns out that there are 16 Germans, so he sends one of the girls for reinforcements, while he pursues the enemy. However, the girl does not reach her own and dies in the swamps. Vaskov has to join the Germans in unequal fight, and as a result, the four girls remaining with him die. But still the commandant manages to capture the enemies, and he takes them to the location Soviet troops.

The story describes the feat of a man who himself decides to resist the enemy and not allow him to walk on his native land with impunity. Without the order of the authorities, the main character himself goes into battle and takes 5 volunteers with him - the girls volunteered themselves.

"Tomorrow there was a war"

The book is a kind of biography of the author of this work, Boris Lvovich Vasiliev. The story begins with the fact that the writer tells about his childhood, that he was born in Smolensk, his father was the commander of the Red Army. And before becoming at least someone in this life, choosing his profession and deciding on a place in society, Vasiliev became a soldier, like many of his peers.

"Tomorrow there was a war" - a work about the pre-war period. Its main characters are still very young students of the 9th grade, the book tells about their growing up, love and friendship, idealistic youth, which turned out to be too short due to the outbreak of war. The work tells about the first serious confrontation and choice, about the collapse of hopes, about the inevitable growing up. And all this against the backdrop of a looming grave threat that cannot be stopped or avoided. And in a year, these boys and girls will find themselves in the heat of a fierce battle, in which many of them are destined to burn out. However, for your short life they will learn what honor, duty, friendship and truth are.

"Hot Snow"

A novel by front-line writer Yuri Vasilyevich Bondarev. The Great Patriotic War in the literature of this writer is presented especially widely and became the main motive of all his work. But the most famous work of Bondarev is the novel "Hot Snow", written in 1970. The action of the work takes place in December 1942 near Stalingrad. The novel is based on real events - an attempt german army release the sixth army of Paulus, surrounded at Stalingrad. This battle was decisive in the battle for Stalingrad. The book was filmed by G. Egiazarov.

The novel begins with the fact that two artillery platoons under the command of Davlatyan and Kuznetsov have to gain a foothold on the Myshkova River, and then hold back the advance of German tanks rushing to the rescue of Paulus's army.

After the first wave of the offensive, Lieutenant Kuznetsov's platoon is left with one gun and three soldiers. Nevertheless, the soldiers continue to repel the onslaught of enemies for another day.

"Destiny of Man"

"The Fate of a Man" is a school work that is studied within the framework of the theme "The Great Patriotic War in Literature". The story was written by the famous Soviet writer Mikhail Sholokhov in 1957.

The work describes the life of a simple driver Andrei Sokolov, who had to leave his family and native home with the beginning of the Great Patriotic War. However, the hero did not have time to get to the front, as he immediately gets injured and ends up in Nazi captivity, and then in a concentration camp. Thanks to his courage, Sokolov manages to survive captivity, and at the end of the war he manages to escape. Once he gets to his own, he gets a vacation and goes to his small homeland, where he learns that his family died, only his son survived, who went to war. Andrei returns to the front and learns that his son was shot dead by a sniper on the last day of the war. However, this is not the end of the hero's story, Sholokhov shows that even if you lose everything, you can find new hope and find the strength to carry on.

"Brest Fortress"

The book of the famous and journalist was written in 1954. For this work, the author was awarded the Lenin Prize in 1964. And this is not surprising, because the book is the result of Smirnov's ten-year work on the history of the defense of the Brest Fortress.

The work "Brest Fortress" (Sergey Smirnov) is a part of history itself. Write literally bit by bit collected information about the defenders, wishing that they good names and honor were not forgotten. Many of the heroes were captured, for which, after the end of the war, they were convicted. And Smirnov wanted to protect them. The book contains many memories and testimonies of the participants in the battles, which fills the book with true tragedy, full of courageous and decisive actions.

"Alive and Dead"

The Great Patriotic War in the literature of the 20th century describes the life of ordinary people who, by the will of fate, turned out to be heroes and traitors. This cruel time crushed many, and only a few managed to slip between the millstones of history.

"The Living and the Dead" is the first book of the famous trilogy of the same name by Konstantin Mikhailovich Simonov. The second two parts of the epic are called "Soldiers are not born" and " last summer". The first part of the trilogy was published in 1959.

Many critics consider the work one of the brightest and most talented examples of the description of the Great Patriotic War in the literature of the 20th century. At the same time, the epic novel is not a historiographical work or a chronicle of the war. The characters in the book are fictional people, although they have certain prototypes.

"War has no woman's face"

The literature devoted to the Great Patriotic War usually describes the exploits of men, sometimes forgetting that women also contributed to the common victory. But the book of the Belarusian writer Svetlana Aleksievich, one might say, restores historical justice. The writer collected in her work the stories of those women who took part in the Great Patriotic War. The title of the book was the first lines of the novel "The War under the Roofs" by A. Adamovich.

"Not listed"

Another story, the theme of which was the Great Patriotic War. In Soviet literature, Boris Vasiliev, whom we have already mentioned above, was quite famous. But he received this fame precisely thanks to his military work, one of which is the story "It does not appear on the lists."

The book was written in 1974. Its action takes place in the very Brest Fortress, which is besieged by fascist invaders. Lieutenant Nikolai Pluzhnikov, the protagonist of the work, ends up in this fortress before the start of the war - he arrived on the night of June 21-22. And at dawn the battle begins. Nikolai has the opportunity to leave here, since his name is not on any military list, but he decides to stay and defend his homeland to the end.

"Babi Yar"

The documentary novel Babi Yar was published by Anatoly Kuznetsov in 1965. The work is based on the childhood memories of the author, who during the war ended up in the territory occupied by the Germans.

The novel begins with a short author's preface, a short introductory chapter, and several chapters, which are grouped into three parts. The first part tells about the withdrawal of the retreating Soviet troops from Kyiv, the collapse of the Southwestern Front and the beginning of the occupation. Also included here were scenes of the execution of Jews, explosions Kiev Pechersk Lavra and Khreshchatyk.

The second part is completely devoted to the occupational life of 1941-1943, the deportation of Russians and Ukrainians as workers to Germany, about the famine, about underground production, about Ukrainian nationalists. The final part of the novel tells about the liberation of the Ukrainian land from the German invaders, the flight of the policemen, the battle for the city, the uprising in the Babi Yar concentration camp.

"A Tale of a Real Man"

Literature about the Great Patriotic War also includes the work of another Russian writer who went through the war as a military journalist, Boris Polevoy. The story was written in 1946, that is, almost immediately after the end of hostilities.

The plot is based on an event from the life of the USSR military pilot Alexei Meresyev. His prototype was a real character, the hero of the Soviet Union Alexei Maresyev, who, like his hero, was a pilot. The story tells how he was shot down in battle with the Germans and badly wounded. As a result of the accident, he lost both legs. However, his willpower was so great that he managed to return to the ranks of Soviet pilots.

The work was awarded the Stalin Prize. The story is imbued with humanistic and patriotic ideas.

"Madonna with ration bread"

Maria Glushko is a Crimean Soviet writer who went to the front at the beginning of the Second World War. Her book Madonna with Ration Bread is about the feat of all mothers who had to survive the Great Patriotic War. The heroine of the work is a very young girl Nina, whose husband goes to war, and she, at the insistence of her father, goes to evacuate to Tashkent, where her stepmother and brother are waiting for her. The heroine is in the last stages of pregnancy, but this will not protect her from the flow of human troubles. And for little time Nina will have to find out what was previously hidden from her behind the well-being and tranquility of the pre-war existence: people live in the country so differently, what are their life principles, values, attitudes, how do they differ from her, who grew up in ignorance and prosperity. But the main thing that the heroine has to do is to give birth to a child and save him from all the misfortunes of the war.

"Vasily Terkin"

Such characters as the heroes of the Great Patriotic War, literature painted the reader in different ways, but the most memorable, resilient and charismatic, of course, was Vasily Terkin.

This poem by Alexander Tvardovsky, which began to be published in 1942, immediately received popular love and recognition. The work was written and published throughout the Second World War, the last part was published in 1945. The main task of the poem was to maintain the morale of the soldiers, and Tvardovsky successfully completed this task, largely due to the image of the protagonist. Daring and cheerful Terkin, who is always ready for battle, won the hearts of many ordinary soldiers. He is the soul of the unit, a merry fellow and a joker, and in battle he is a role model, a resourceful and always achieving his goal warrior. Even being on the verge of death, he continues to fight and is already in a fight with Death itself.

The work includes a prologue, 30 chapters of the main content, divided into three parts, and an epilogue. Each chapter is a small front-line story from the life of the protagonist.

Thus, we see that the exploits of the Great Patriotic War literature Soviet period widely covered. We can say that this is one of the main themes of the middle and second half of the 20th century for Russian and Soviet writers. This is due to the fact that the whole country was involved in the battle with the German invaders. Even those who were not at the front worked tirelessly in the rear, providing soldiers with ammunition and provisions.

With the beginning of the Great Patriotic War, artists take an active part in the fight against the enemy. Some of them went to fight at the front, others - in partisan detachments and the people's militia. Between battles, they managed to produce newspapers, posters, cartoons. In the rear, the artists were propagandists, organized exhibitions, they turned art into a weapon against the enemy - no less dangerous than the real thing. During the war, many exhibitions were organized, among them two all-Union exhibitions ("The Great Patriotic War" and "The Heroic Front and Rear") and 12 republican ones. In the besieged Leningrad, the artists published a magazine of lithographic prints "Fighting Pencil" and, together with all Leningraders, showed the whole world their unparalleled courage and fortitude.

As in the years of the revolution, the first place in the graphics of the war years was occupied by the poster. Moreover, two stages in its development are clearly traced. In the first two years of the war, the poster had a dramatic, even tragic sound. Already on June 22, the poster of the Kukryniksy appeared “We will mercilessly defeat and destroy the enemy!”. He unleashed popular hatred on the invading enemy, demanded retribution, called for the defense of the Motherland. The main idea was to repulse the enemy, and it was expressed in a harsh, laconic pictorial language, regardless of creative individuals. Domestic traditions were widely used. So, "Motherland is calling!" I. Toidze (1941), with an allegorical female figure against the background of bayonets, holding the text of a military oath in her hands, both in composition and in color (red, black, white) echoes Moor's "Have you signed up as a volunteer?" The poster of V.G. sounded like a call for revenge. Koretsky "Warrior of the Red Army, save!" (1942), which also uses the traditions of the revolutionary years - photomontage, as A. Rodchenko did. There was not only not a single fighter, but, it seems, not a single person in general, who would not have been pierced by the tragic power of this image of a woman, in horror, clutching a child to herself, at whom a bayonet with a swastika is pointed. The poster has become, as it were, an oath of every fighter. Often, artists resorted to the images of our heroic ancestors (Kukryniksy “We fight great, prick desperately, Suvorov’s grandchildren, Chapaev’s children”, 1941). "Free", "Revenge!" - images of children and the elderly cry out from the poster sheets.

At the second stage, after a turning point in the course of the war, both the mood and the image of the poster change. B.C. Ivanov depicts a soldier against the backdrop of a crossing across the Dnieper, drinking water from a helmet: “We drink the water of our native Dnieper. We will drink from Prut, Neman and Bug!” (1943). L. Golovanov's poster "Let's get to Berlin!" is filled with optimism and folk humor. (1944), whose image of the hero is close to Vasily Terkin.

From the first days of the war, following the example of ROSTA Windows, TASS Windows began to appear. Created by hand - by applying paint to paper through a stencil - in a bright, catchy color scheme they instantly responded to all major military and political events. Of the masters of the older generation, M. Cheremnykh, B. Efimov, Kukryniksy, who also worked a lot in magazine and newspaper caricature, collaborated at TASS Windows. The whole world went around their famous caricature “I lost my ringlet ... (and there are 22 divisions in the ringlet)” - on the defeat of the Germans near Stalingrad (1943). The political department of the Western Front issued a special magazine, Front Humor. Until 1942, its artistic director was N. Radlov, and from 1942 until the end of the war, V. Goryaev. V. Lebedev made drawings for S.Ya. Marshak.

Like the Leningrad "Combat Pencil", Georgian artists began to publish a series of small propaganda sheets called "Bayonet and Feather", in which the literary text played an important role. Among the artists involved in this edition were L.D. Gudiashvili, among the poets - Tabidze. Similar propaganda leaflets were performed by Ukrainian artists and thrown into the occupied territory. Georgian and Ukrainian propaganda graphics are mostly heroic and dramatic; Azerbaijani artists worked in a satirical vein according to the tradition that had developed even before the war.

During the war years, significant works of easel graphics appeared, and the variety of impressions gave rise to a variety of forms. These are quick, documentary-accurate front-line sketches, different in technique, style and artistic level. These are portrait drawings of fighters, partisans, sailors, nurses, commanders - the richest chronicle of the war, later partially translated into engraving (lithographs by Vereisky, engravings by S. Kobuladze, watercolors by A. Fonvizin, drawings by M. Saryan, etc.). These are landscapes of the war, among which a special place is occupied by images of besieged Leningrad (gouaches by Y. Nikolaev and M. Platunov, watercolors and pastels by E. Belukha and S. Boym, etc.). Finally, these are a whole series of graphic sheets on one topic. This is how the graphic series by D. Shmarinov “We won’t forget, we won’t forgive!” appeared. (charcoal, black watercolor, 1942), which arose from sketches that he made in the newly liberated cities and villages, but was finally completed after the war: conflagrations, ashes, weeping over the bodies of the murdered mother and widow - everything fused into a tragic artistic image.

Agitation poster. Save the Red Army Warrior

Quite different in spirit from L.V. Soyfertis "Sevastopol" (1941-1942), "Crimea" (1942-1943), "Caucasus" (1943-1944). Soyfertis does not depict the tragic aspects of the war, but only the everyday life of the war, which he, a Black Sea sailor, was well acquainted with. Executed in black watercolor, Soyfertis' graceful drawings are full of humor and sharp powers of observation. Made truthfully, but in a different vein than Shmarinov's, they glorify the heroism of the Soviet people. Sheet "Once!" (1941), for example, depicts a sailor leaning on a poster pedestal, who, in a short respite between battles, is deftly polished by two boys at once.

"Leningrad in the days of blockade and liberation" - this is the name of a series of more than three dozen autolithographs by A.F. Pakhomov (1908–1973), which he started in 1941 and completed after the war. Pakhomov himself survived the blockade, and his sheets are full of tragic feelings, but also admiration for the courage and will of his compatriots. The whole world went around his sheet “On the Neva for Water”, depicting wrapped girls with huge eyes, extracting water from the Neva with their last efforts.

The historical theme occupies a special place in military graphics. It reveals our past, the life of our ancestors (engravings by V. Favorsky, A. Goncharov, I. Bilibin). Architectural landscapes of the past are also presented.

The painting of the war years also had its own stages. At the beginning of the war - basically fixing what he saw, not pretending to generalize, almost hastily "picturesque sketch". Artists painted based on living impressions, and there was no shortage of them. The plans were not always successful, the paintings lacked depth in the disclosure of the topic, the power of generalization. But there has always been great sincerity, passion, admiration for people who steadfastly endure inhuman trials, directness and honesty of artistic vision, a desire to be extremely conscientious and accurate.

Agtposter. Let's go to Berlin

The speed of a sharp-sighted sketch, sketch, did not rule out the seriousness and depth of thought. Sketches by artists who found themselves in besieged Leningrad - V. Pakulin, N. Rutkovsky, V. Raevskaya, N. Timkov and others - are priceless pictorial documents to this day (Y. Nikolaev "For Bread", 1943; V. Pakulin "Embankment of the Neva. Winter", 1942). During the Great Patriotic War, many young artists came to the fore, they themselves were participants in the battles near Moscow, great battle beyond Stalingrad, they crossed the Vistula and the Elbe and stormed Berlin.

Of course, the portrait develops first of all, because the artists were shocked by the courage, moral loftiness and nobility of the spirit of our people. At first, these were extremely modest portraits, only fixing the features of a man of a wartime, - Belarusian partisans F. Modorov and Red Army soldiers V. Yakovlev, portraits of those who fought for victory over fascism in the rear, a whole series of self-portraits. Ordinary people, forced to take up arms, who showed the best human qualities in this struggle, artists sought to capture. Later, ceremonial, solemn, sometimes even pathetic images appeared, such as, for example, the portrait of Marshal G.K. Zhukov by P. Korin (1945).

P. Konchalovsky worked a lot in this genre during the war years. He creates optimistic, life-loving characters in his usual decorative, rich in color manner. But in the Self-portrait of 1943, although it was executed in accordance with the methods familiar to the artist, I would like to note the special insight of the look on the face, full of heavy reflection, as if corresponding to the most difficult time that our country is going through. A remarkably subtle portrait of the famous art critic N.N. Punina writes to V.M. Oreshnikov (1944).

The portraits of the intelligentsia painted by M. Saryan during the war years are especially significant, monumental. and etc.).

During the war years, Saryan was also engaged in landscape and still life. It should be noted one special still life, called by him “To the Armenian soldiers, participants in the Patriotic War” (1945), depicting the fruits and flowers of Armenia: as a gift and gratitude to those who are fighting and victorious, and as a memory of those who died far from their homeland, and as a hope for a future peaceful life .

In 1941–1945 both domestic and landscape genres are developing, but they are always connected in one way or another with the war. A prominent place in the formation of both of them during the war years belongs to A. Plastov. Both genres are, as it were, combined in his painting “The Fascist Has Flew” (1942): young birches, gray skies, distant fields familiar to each of us. Against the background of this peaceful autumn landscape, the atrocity of the fascist pilot who killed the shepherd boy and the cows he pastured seems even more monstrous. They say that the audience froze in front of this picture when it was exhibited at the exhibition "The Great Patriotic War" in 1942. Plastov's brushes also belong to very bright, soulful landscapes of our homeland. In the last year of the war, A. Plastov painted a beautiful picture "Harvest" (1945, State Tretyakov Gallery): a serious and tired old man and children dine at the harvested sheaves - those who remained in the rear and who fed the fighters. Plastov's painting is juicy, the manner of painting is wide, generous, in the landscape there is no that mournful, aching note that sounds in the previous picture.

The oldest masters (V. Baksheev, V. Byalynitsky-Birulya, N. Krymov, A. Kuprin, I. Grabar, P. Petrovichev, etc.) and younger ones, like G. Nissky, also worked in the genre of landscape during the war years. who created several expressive, very expressive canvases. Among them is “To defend Moscow. Leningrad highway" (1942). Exhibitions of landscape painters during the war speak of their understanding of the landscape in a new way, belonging to the harsh wartime. So, these years also preserved almost documentary landscapes, which eventually became a historical genre, such as “Parade on Red Square on November 7, 1941” by K.F. Yuon (1942), which captured that day, memorable for all Soviet people, when the soldiers went into battle straight from the snow-covered square - and almost all died.

Laconism, simplicity of visual means, but also unfortunate straightforwardness distinguish the plot paintings of 1941–1942. Characteristic in this regard is the painting by Sergei Gerasimov "Mother of the Partisan" (1943), which was highly appreciated by contemporaries rather due to the relevance of the topic than for artistic merit. Gerasimov develops the "conflict line" following Ioganson, but does it even more illustratively.

The female figure is read as a light spot on a dark background, while the figure of the fascist interrogating her appears as a dark spot on a light one, and this, according to the author, should sound symbolic: a woman, as if grown into her native land, but also like a monument towering above the smoke of the conflagration, embodies the power of people's pain, suffering and invincibility. This is expressed quite clearly, succinctly, but also illustratively "literary". The figure of the tortured son seems completely superfluous. And so the idea is clear and extremely understandable.

Not devoid of a certain posterity, so alien to the art of painting, and the picture of A.A. Deineka "Defense of Sevastopol" (1942), created in the days when there was "a battle ... holy and right, a mortal battle not for the sake of glory, for the sake of life on earth." The theme itself is the reason for the huge emotional impact of the picture. Although the viewer knows that Sevastopol was abandoned by our troops, but these sailors fighting to the death are perceived as winners. In the end, they became them. Deineka conveys the terrible tension of the battle not with illusory details, the realities of the situation, but with certain, purely pictorial techniques, hyperbolization. Cutting off a number of bayonets with the edge of the picture, the artist creates the impression of an avalanche of enemy troops, although he depicts only a small group of fascists rushing to the shore, the movements of the figures are deliberately swift, the angles are sharp. The fierceness of the battle of the “holy and right” is conveyed primarily by color. The sailors' blouses are dazzlingly white, their figures are readable against a dark background, the figures of the Germans are dark against a light background. It is rightly noted that the faces of the sailors are open to the viewer, we see their expression, as, for example, the face of a sailor in the foreground, preparing to throw a bunch of grenades at the enemy. His figure is a symbol of a fierce battle. We do not see the faces of the enemies. With one coloristic device, the picture does not have that straightforwardness that is in The Mother of the Partisan.

Not only color, but also the composition is built on contrast. In the background, a mortally wounded sailor is contrasted with the figure of a murdered German. The third plan is a bayonet battle, where the fighters met in the last deadly fight. The heroic content of Deinek reveals through the main thing, ignoring minor details. Poster-literary, but also intensely expressive artistic language creates an image of a fierce battle.

Deineka also played the main role in establishing a new, military landscape, marked by a sharp sense of time (“Outskirts of Moscow. November 1941”). The named landscape, depicting deserted Moscow streets, blocked by gouges and steel "hedgehogs", conveys the unforgettable atmosphere of those terrible days when the enemy rushed to Moscow and was at its doorstep.

It is significant that the spirit of war, permeated with one thought - about war - is sometimes conveyed by artists in the nature of a simple genre painting. So, B. Nemensky depicted a woman sitting over sleeping soldiers, and called his work "Mother" (1945): she can be a mother guarding the sleep of her own sons-soldiers, but this is also a generalized image of all the mothers of those soldiers who fight with the enemy.

Nemensky was one of the first who, in those difficult years for art, resolutely abandoned pathetic glorification. Through the ordinary, and not the exceptional, he depicts the daily feat of the people in this most bloody of all wars that have been on earth. In a programmatic, in fact, work, the innovative role of the artist is expressed.

In the last years of the war, one of their best paintings was created by the Kukryniksy, turning to the image of antiquity - Sophia of Novgorod as a symbol of the invincibility of the Russian land ("The Flight of the Nazis from Novgorod", 1944-1946). Against the backdrop of the majestic facade of the cathedral, wounded by shells, the bustling arsonists seem pitiful, and a pile of mangled fragments of the monument "Millennium of Russia" calls for revenge. The artistic shortcomings of this picture are redeemed by its sincerity and genuine drama.

In historical painting, images of the heroes of the glorious past of our Motherland appear, inspiring Soviet soldiers to fight the enemy, reminding them of the inevitability of death, the inglorious end of the conquerors. So, the central part of the triptych by P. Korin is occupied by the figure of Alexander Nevsky, full-length, in armor, with a sword in his hand against the backdrop of Volkhov, St. Sophia Cathedral and a banner depicting the “Savior Not Made by Hands” (1942–1943, Tretyakov Gallery). Later, the artist will say: “I painted it in the harsh years of the war, I wrote the unconquered proud spirit of our people, which “at the hour of judgment of its existence” rose to its full gigantic height.” The main thing for Korin is not the archaeological authenticity of historical details, but the disclosure of the spiritual essence of the hero, his determination, which knows no obstacles on the way to victory. The right and left parts of the triptych - "Northern Ballad" and "An Old Tale" - are pictures of a courageous and mentally stable Russian man. But they are clearly weaker than the central part, it is rightly noted that the well-known "encryption" of the plot also harms them. The pictorial-plastic solution is typical for Korin: the forms are extremely generalized, the plasticity of the figure is rigid, the contour is graphic, the color is built on local, contrasting combinations.

In the historical genre, the oldest artist E.E. Lancer. N. Ulyanov paints a picture about the war of 1812 ("Lauriston at Kutuzov's headquarters", 1945). But in the historical genre of the war years, especially towards the end of the war, just like in others, changes are outlined: the paintings become more complex, gravitate towards multi-figure, so to speak, “developed dramaturgy”. It is worth comparing in this sense the already mentioned laconic, majestic composition of "Alexander Nevsky" with the painting by A.P. Bubnov (1908-1964) "Morning on the Kulikovo Field" (1943-1947) or with the painting by M. Avilov "Duel of Peresvet with Chelubey" (1943) in order to understand that “nationality” in a historical canvas is by no means achieved by the number of persons depicted.

Monumental painting, of course, had few opportunities during the war years. But even at this time of the most difficult trials, the art of "eternal materials", frescoes and mosaics, continued to exist and develop. It is significant that in besieged Leningrad in the mosaic workshop of the Academy of Arts, mosaics for the subway are being assembled using Deineka's cardboards.

Despite the more difficult working conditions of the sculptor in comparison with the painter and graphic artist (you need special tools for work, more expensive materials, etc.), Soviet sculptors actively worked from the first days of the war, participated in traveling exhibitions in 1941, and in exhibitions "The Great Patriotic War" (1942), "The Heroic Front and Rear" (1944), etc.

In the sculpture of the war years, even more clearly than in painting, the priority of the portrait genre is felt. Sculptors strive, first of all, to capture the image of a war hero, to make it truthful, devoid of external effect. The face of the pilot, Colonel I.L., is not at all “heroically inspired”. Khizhnyak, who saved a train of ammunition under heavy fire, or the scarred face of Colonel B.A. Yusupov, who survived the duel with enemy tanks, in the busts of V. Mukhina (both - plaster, 1942). “Our Patriotic War,” wrote V.I. Mukhina gave birth to so many new heroes, gave an example of such a bright and extraordinary heroism that the creation of a heroic portrait cannot but captivate the artist. The Russian bogatyrs of our ancient epic are resurrecting again in Soviet man, and epic images live with him and among us...”

The composition of her portraits is simple and clear, as well as clear plastic modeling. The main thing in the face is accentuated by a rich play of light and shade. So, the shadows thicken in the lower part of Khizhnyak's face, on the cheeks, on the cheekbones, enhancing the concentration, severity and integrity of the image. No extra details, even the image of a military order is placed on a stand. A more dramatic description is given in the portrait of N.N. Burdenko (gypsum, 1943), it is built on the contrast of inner emotionality and the iron will that restrains it. These portraits by Mukhina happily stand out for their simplicity and sincerity against the backdrop of future falsely heroic pompous decisions characteristic of so many masters, especially of the post-war period. But Mukhina herself also has such works in the same wartime, in which she seems to be trying to generalize her observations, to create a certain collective image of many patriots who fought against the Nazis, but at the same time falls into sugary idealization, as, for example, in "Partisan (gypsum, 1942), this “image of anger and intransigence towards the enemy”, “Russian Nike”, as she was, nevertheless, called in those years.

An important role was played by Mukhina's experiments with various modern materials, which she combines in one work, using their various textures and, most importantly, different colors (portrait of X. Jackson, aluminum, colored copper, etc., 1945). The artist, as it were, rediscovered the possibilities of using color in sculpture, although they have been known to mankind since ancient times. Also important are Mukhina's experiments in glass, her use of glass in sculpture.

In a different vein, in different ways, with a completely different approach to the model, S. Lebedeva worked during the war years, creating no less significant images. Her analytical mindset, thoughtfulness allow her to convey the intensity of the model’s inner life, high intelligence, shades of state of mind, as in the bust of A.T. Tvardovsky, war correspondent in those years (gypsum, 1943). With a slight tilt of the head, opposed to the turn of the shoulders in movement, the sculptor skillfully, but not straightforwardly, accentuates the strength of his character, which allowed him to defend the position of a poet and a citizen until the end of his days.

In the sculpture of the so-called small forms, figurines, which developed mainly after the war, Lebedeva leaves unforgettably sharp, poetic images ("Seated Tatlin", plaster, 1943-1944).

Sculptors from all republics and national schools work on the images of warriors (A. Sargsyan in Armenia, Y. Nikoladze, N. Kandelaki in Georgia, etc.). Among these works, the image of N.F. Gastello by the Belarusian sculptor A. Bembel (bronze, 1943): a triangle of a half-figure with a hand thrown up on a stand block - in this composition, the artist captured the tragic and majestic moment of throwing a burning car into an enemy echelon. The oldest sculptor V. Lishev, a student of Matveev V. Isaeva, works in besieged Leningrad.

Over time, as in painting, in a sculptural portrait, the ideal, sublimely heroic, often frankly idealized, takes precedence over the individually concrete. In this vein, N.V. makes portraits of the heroes of the Soviet Union. Tomsky, an even more spectacularly romantic beginning is emphasized in the portraits of E.V. Vuchetich, it is enough to compare the portraits of General of the Army I.D. Chernyakhovsky by both masters.

During the war, it was not possible to build monuments. But it is during the days of the war that many sculptors have new ideas and projects. So, Mukhina is working on a monument to P.I. Tchaikovsky (placed near the Moscow Conservatory already in 1954, architect A Zavarzin). Back in 1943, it was conceived and immediately after the end of the war, in 1946, in Vyazma, a monument to Major General M.G. Efremov, who died here in the first year of the war. The composition of the monument consists of five figures: in the center of it is General Efremov, who continues to fight mortally wounded, when he and the surviving soldiers were surrounded on all sides by enemies. In this image, the sculptor did not avoid elements of narrative and illustrativeness, but truthfulness, sincerity, even passion in conveying the atmosphere of the last battle, in which people show so much courage, determine the artistic significance of this monument.

After the war (1945–1949), Vuchetich executed the famous 13-meter bronze figure of a soldier with a child on one arm and with a lowered sword in the other for the grandiose memorial to the “Soviet Liberator Warrior” in Treptow Park in Berlin (architect Ya.B. Belopolsky and others). The spatial architectural and sculptural composition in the park layout includes two alleys and parterre with burials, ending with a mound with a mausoleum. At the beginning of the alleys leading to the mound, there is a figure of the Motherland made of gray granite on a pedestal of polished red granite. Banners with bronze figures of kneeling warriors on propylaea are made of the same material. The mausoleum is crowned with the figure of a warrior with a child in his arms - the central figure of the memorial. The appearance of such a monument immediately after the war was natural: it reflected the role of our state in the victory over fascism.

In 1941-1945, during the years of the great battle against fascism, artists created many works in which they expressed the whole tragedy of the war and glorified the feat of the victorious people.

I Introduction

II. Literature during the Second World War

Sh. Art during the Second World War

3.1. Cinematography and theatrical art.

3.2. Propaganda poster as the main type of fine art during the Second World War.

I . Introduction

II . Literature during the Second World War

The Great Patriotic War is an ordeal that befell the Russian people. The literature of that time could not remain aloof from this event.

So on the first day of the war, at a rally of Soviet writers, the following words were heard: "Every Soviet writer is ready to give everything, his strength, all his experience and talent, all his blood, if necessary, to the cause of a holy people's war against the enemies of our Motherland." These words were justified. From the very beginning of the war, the writers felt "mobilized and called". About two thousand writers went to the front, more than four hundred of them did not return. These are A. Gaidar, E. Petrov, Yu. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young.

Writers lived one life with the fighting people: they froze in the trenches, went on the attack, performed feats and ... wrote.

Homeland, war, death and immortality, hatred of the enemy, military brotherhood and comradeship, love and loyalty, the dream of victory, reflection on the fate of the people - these are the main motives of military poetry. In the poems of Tikhonov, Surkov, Isakovsky, Tvardovsky one can hear anxiety for the fatherland and merciless hatred of the enemy, the bitterness of loss and the consciousness of the cruel necessity of war.

In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyric-epic (ballads, poems).

During the Great Patriotic War, not only poetic genres, but also prose were developed. It is represented by journalistic and essay genres, military stories and heroic stories. Journalistic genres are very diverse: articles, essays, feuilletons, appeals, letters, leaflets.

Publicism had a huge impact on all genres of literature of the war years, and above all on the essay. From the essays, the world first learned about the immortal names of Zoya Kosmodemyanskaya, Lisa Chaikina, Alexander Matrosov, about the feat of the Young Guards, who preceded the novel The Young Guard. Very common in 1943-1945 was an essay about the feat of a large group of people. So, essays about night aviation "U-2" (Simonov), about the heroic Komsomol (Vishnevsky), and many others appear. Essays on the heroic home front are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes, but to mass labor heroism. Most often, Marietta Shaginyan, Kononenko, Karavaeva, Kolosov wrote about the people of the rear.

The war became a great misfortune for all. But it is at this time that people manifest their moral essence, "it (war) is like a litmus test, like a special developer." Here, for example, Valega is an illiterate person, “... reads in syllables, and ask him what a homeland is, he, by God, will not really explain. But for this homeland... he will fight to the last bullet. And the cartridges will run out - with fists, teeth ... ". The battalion commander Shiryaev and Kerzhentsev are doing everything possible to save as many human lives as possible in order to fulfill their duty. They are opposed in the novel by the image of Kaluga, who thinks only about not getting to the front line; the author also condemns Abrosimov, who believes that if a task is set, then it must be carried out, despite any losses, throwing people under the destructive fire of machine guns.

Sh. Art during the Second World War

3.1. Cinematography and theatrical art.

Agitation assignment and journalism, caricature and poem, a record from a front-line notebook and a play published in a newspaper, a novel and radio speech, a poster figure of an enemy and an image of a mother elevated to pathos, personifying the Motherland - the multicolored spectrum of art and literature of those years included cinema, where many of the types and genres of martial art were melted down into visible, plastic images.

During the war years, the significance of different types of cinema became different than in peaceful conditions.

Artistic cinematography has become different than before the war, but still a powerful means of ideological education of the masses. Masters of artistic cinematography sought to tell about the heroes of the front and rear 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.

Cameramen at the front at first filmed in the same way as on peaceful days during maneuvers. Avalanches of tanks rushed on the screen, squadrons of planes flew, fighters fled in general plans ...

From the autumn of 1941, the nature of the depiction of the war in front-line film reports began to slowly change. At first, the front-line cameramen's films were reminiscent of military reports in their style. However, gradually more and more clearly felt the desire to give not only detailed information, but also to try to comprehend the heroic epic of the Great Patriotic War.

A new character in the image of the war arose when the front approached the largest centers of the country, and the population took part in the defense of their cities. Shooting the defense of hero cities played a special role in the development of Soviet journalism. It is from these tapes that it is easiest to trace how the understanding of the people's nature of the war gradually deepened in the minds of documentary filmmakers, and how the style and nature of documentary filming changed with a change in the view of the war.

One of the first attempts at a new reflection of the heroic epic of the Patriotic War was made in a film report shot by cameramen V. Mikosha, M. Troyanovsky and S. Kogan in Odessa and Sevastopol.

In the first, June days of the war, seeing off those leaving for the front was filmed mainly in a long shot. The cameramen were primarily interested in the fact itself.

A few months later, the same chroniclers filmed the entry of Muscovites into the people's militia in a different way. The camera slowly pans over the ranks of volunteers, it either stops at the face of an old intellectual, or kindly watches how an elderly worker slowly tries on a padded jacket, or watches a young boy picking up a rifle for the first time. The operator seems to be calling on the audience to take a closer look at these faces, to try to remember them: after all, people are going to defend Moscow, and many, probably, will not return ...

In difficult days for Moscow, when the enemy was at a distance of 25-30 kilometers from the city, Muscovites saw on the screens a new newsreel - "To protect native Moscow." It began to be produced by a group of film directors who remained in Moscow (L. Varlamov, B. Nebylitsky, R. Gikov, N. Karamzinsky, I. Kopalin, S. Gurov). From materials sent to the studio by front-line

cameramen, they edited short essays and separate plots, which told about the battles on the outskirts of Moscow, about the military everyday life of the Soviet capital. The last issues of the film magazine (nine issues were released during the winter of 1941/42) informed the viewer about the course of the counteroffensive of the Red Army units and the defeat of the Nazi troops near Moscow. Most of this material was subsequently included in documentary"The defeat of the Nazi troops near Moscow"

In addition to stories in film magazines, from the very first days of the war, documentary filmmakers began to release short films and review film essays that told about the life of the Soviet state, which was attacked by the Nazi army. Among them are: "Youth, to defend the Motherland!" (director O. Podgoretskaya), "Our Moscow" (director Y. Poselsky), "24th October" (director L. Varlamov), "Bread for the Motherland" (director L. Stepanova), etc.

At the beginning of 1942, a large documentary film "The Defeat of the Nazi Troops near Moscow" was released (directors L. Varlamova and I. Kopalin, narration by P. Pavlenko, lyrics by A. Surkov, composer B. Mokrousov). The film told about the offensive operation of the Soviet troops near Moscow in December 1941 - January 1942, which played a huge role in the course of the entire world war.

Since Battle of Stalingrad experiments began with synchronous sound and image recording in combat conditions. There were isolated experiments in the field of color and stereoscopic front-line shooting. In the middle of 1942, cameraman I. Gelein filmed a number of shots in the battles for Vitebsk on color film: preparations for the storming of the city, an attack, a volley of Katyushas, aviation operations, soldiers at a campfire at night, an operation in a medical battalion. In 1944, cameraman D. Surensky, shortly after the blockade of Leningrad was lifted, made two stereoscopic shots in Petrodvorets destroyed by the Nazis and in Leningrad.

In the final period of the war (1944-1945), the offensive actions of the Soviet Army, its liberation mission become the themes of documentary cinematography. Chronicle operators walked along with those advancing to the west military units, filmed meetings, rallies in the liberated cities, people who had been in fascist captivity, the first labor efforts of the people to restore the destroyed.

On the basis of film documents depicting the life of the front and rear, such films as “The Battle for Our Soviet Ukraine”, “Victory in the Right-Bank Ukraine” (author-director A. Dovzhenko), “Liberation of Soviet Belarus” (authors - directors V. Korsh-Sablin, N. Sadkovich), "Liberated Czechoslovakia" (author-director I. Kopalin).

Harsh, the front-line operators truthfully recorded the spring offensive of the Soviet Army: tanks skidding in the mud, guns pulled by soldiers on themselves, close-ups feet in boots and shoes, walking through the spring mess.

The audience was waiting for full-length films about the war. Working at the then poorly equipped studios in Alma-Ata, Tashkent and Dushanbe, filmmakers were forced not only to overcome many technical difficulties, but most importantly, they had to comprehend new life material, look for such imaginative solutions that would reveal the nationwide character of the struggle, awaken in people high patriotic impulse. It was a difficult civil and aesthetic process, proceeding in the shortest possible time.

It is significant that in the center of the first full-length feature film about the war - "Secretary of the District Committee", created by director I. Pyryev according to the script by I. Prut in 1942, was the image of a party leader. The authors of the film with great propaganda power and artistic skill revealed on the screen the folk origins of the image of a communist who understood people on deadly fight with the enemy. District Committee Secretary Stepan Kochet, played by the wonderful actor V. Vanin, rightfully opened a gallery of large-scale, bright characters Soviet cinema war years.

A new step towards comprehending the truth of war was made by feature cinema in the film She Defends the Motherland (1943). The importance of this picture, filmed by director F. Ermler according to the script by A. Kapler, was primarily in the creation of the heroic, truly folk character of a Russian woman - Praskovya Lukyanova - embodied by V. Maretskaya.

An intense search for new characters, new ways to solve them was crowned with success in the film "Rainbow" (1943), staged by M. Donskoy according to the script by Wanda Vasilevskaya S. N.

Live in the lead role. In this work, the tragedy and the feat of the people were shown, a collective hero appeared in it - the whole village, its fate became the theme of the film.

"Unconquered" film by M. Donskoy (1945) is the first film that was filmed in the newly liberated Kyiv. The truth about fascism came to M. Donskoy not only through literature, cinema came close to the war.

“In the logical chain: war - grief - suffering - hatred - revenge - victory is difficult to cross out big word- suffering,” wrote L. Leonov. Artists understood what cruel pictures of life a rainbow illuminates. They now understood what was behind the rainbow-like fireworks.

The patriotism of the people, their love for the motherland and hatred of the enemy demanded, however, not only dramatic or, moreover, tragic colors. The war has sharpened the thirst for humanity. On the screens, lyrical and humorous collisions arose. Humor and satire in popular publications often occupied the central pages. Comedy films were recognized and coveted at the front and in the rear, but they were few in number. Several short stories from "Combat Film Collections", "Antosha Rybkin" and "Schweik's New Adventures" (1943), created at the Tashkent studio, and film adaptations of Chekhov's "Weddings" (1944) and "Jubilee" (1944).

During the war years, cinema, along with other arts, played the role of a political fighter and agitator, raising people to defend the fatherland. The ideas of the liberation struggle against fascism were comprehended by him in the ideological aspect - it was the struggle of the masses, united by ideology, with the obscurantism of bourgeois society in its extreme expression.

3.2. Propaganda poster as the main type of fine art during the Second World War.

One of the most important types of fine arts during the war years was the poster.

Poster artists promptly responded to the events of the first days of the war. Within a week, five poster sheets were issued in mass editions, and over fifty more were being prepared for printing in publishing houses: Already on June 24, a poster with the following plot was printed in the Pravda newspaper. The bayonet pierced right into the Fuhrer's head, which fully corresponded to the ultimate goal of the unfolding events. The successful combination of heroic and satirical images in the plot of the poster also corresponded to the spirit of the time. Later, the first poster of the Great Patriotic War was repeatedly reproduced in print, published in England, America, China, Iran, Mexico and other countries. Among the poster sheets of June 1941 is the work of A. Kokorekin “Death to the Fascist Reptile!”. A successful emblematic characteristic of fascism has been found. The enemy is shown in the form of a vile reptile, in the form of a swastika, which is pierced with a bayonet by a Red Army Warrior. This work is done in a unique way artistic technique no background using only black and red colors. The figure of the warrior represents a red planar silhouette. Such a reception, of course, to some extent was dictated by necessity. Time of war, deadlines are tight. For fast reproduction in print, the palette of colors had to be limited. Another famous poster by A. Kokorekin “Beat the Fascist Reptile!” - the one described above varies, but it is drawn more voluminously, specifically, during the war years, the artist completed at least 35 poster sheets.

Among the first military posters is the work of N. Dolgorukov “The enemy will have no mercy!”. This is one of those posters where the image of a person plays a subordinate role. The correct selection of details, the wit of the plot, the dynamics of movement, and the color scheme are important here. On the eve of the great patriotic war artist director of the film studio "Mosfilm" V. Ivanov created a poster sheet dedicated to the Red Army. It depicted fighters rising to the attack, advancing tanks, planes flying across the sky. Above all this mighty purposeful movement fluttered the Red Banner. The fate of this last pre-war poster received an unusual continuation. The poster "caught up" with the author on the way to the front. At one of the railway stations, V. Ivanov saw his drawing, but the text on it was already different “For the Motherland, For Honor, For Freedom!”.

A week after the start of the war, one of the most famous posters of the war years appeared - Motherland Calls. It was published in millions of copies in all languages of the peoples of the USSR. The artist skillfully presented a generalized image of the Motherland filled with romance. The main force of the impact of this poster lies in the psychological content of the image itself - in the expression of the excited face of a simple Russian woman, in her inviting gesture. In the first months of the war, the plots of heroic posters were full of scenes of attacks and martial arts. Soviet soldier with the fascist, and the main attention, as a rule, turned to the transmission of the movement of a violent aspiration to the enemy. These are the posters: “Forward for our victory” by S. Bondar, “Our cause is just. The enemy will be defeated!" R. Gershanika, "The Nazis will not pass!" D. Shmarinova, “Forward the Budenovites!” A. Polyansky, "We will crush the enemy with a steel avalanche" M. Avilova, “Let's show the despicable fascist killers how a Soviet sailor can fight!” A. Kokorekina. The multi-figure composition of these posters was supposed to emphasize the idea of the nationwide character of resistance to the enemy. To stop the invasion at any cost was called by the poster of A. Kokosh “A soldier who was surrounded. Fight to the last drop of blood!

"Do not chat!" belongs to the Moscow artist N. Vatolina.

Poster artists did not disregard the theme of the partisan movement. Among the most famous posters are: “Partisans! Beat the enemy without mercy!" V. Koretsky and V. Gitsevich, "The enemy cannot escape the people's revenge!" I. Rabicheva, "Fire guerrilla war in the fascist rear!..” A. Kokorekin. The works of V. Koretsky “Be a hero!”, “The people and the Army are invincible!”, “Join the ranks of front-line girlfriends were a successful experience in the deep psychological solution of the patriotic theme in the poster. The combatant of the Fighter is an assistant and friend!

Wartime posters are not only original works of art but also authentic historical documents.

References:

History of Russian Soviet Literature. Under the editorship of prof. P.S. Vykhodtsev. Publishing house "Higher School", Moscow - 1970

For life on earth. P. Toper. Literature and war. Traditions. Solutions. Heroes. Ed. third. Moscow, "Soviet Writer", 1985

Russian literature of the twentieth century. Ed. "Astrel", 2000

- "Second World War: cinema and poster art. M., Thought, 1995

Golovkov A. "Yesterday there was a war." Magazine "Spark", No. 25 1991

Introduction

About the Great Patriotic War of 1941-1945. many pictures have been written that bring us back (the generation that knows about the war from films) at a time when hard trials fell on the share of the military generation.

Many artists fought the enemy in partisan detachments, in reconnaissance, in the infantry. In between battles, they tried to capture for our descendants everything that they had to endure in these long years war.

We get acquainted with the war on the example of the artists M.B. Grekov, etc.

They reflected in their paintings the feat of arms and the heroism of the soldiers.

1. Military painting 1941-1945

The battle genre (from the French bataille - battle) is a genre of fine art dedicated to the themes of wars, battles, campaigns and episodes of military life. It can depict the life of the army and navy contemporary to the artist, and also be an integral part of the historical and mythological genre. The battle genre may include genres - life, portrait, landscapes, images of cavalry.

The most difficult test for the country was the Second World War. When the Second World War broke out, the history of the world's art went through extraordinary times.

With the beginning of the Second World War, artists took an active part in the struggle. Some of them went to the front, others - to the partisan detachments and the militia. Between fights they produce cartoons, newspapers and posters. The artists were propagandists, they put on exhibitions, they did so that art became a weapon against the enemy. During the war there were many exhibitions, among them two all-Union "Great Patriotic War" and "Heroic Front and Rear". In the besieged Leningrad, the artists published a magazine of lithographic prints "Fighting Pencil" and, together with all Leningraders, showed the whole world their unparalleled courage and fortitude.

The artists were witnesses of the greatest historical events.

The spirit of wartime was imbued with the work of artists and sculptors. During the war years, such forms of operational visual agitation as military and political posters and caricatures became widespread. Thousands of copies were issued such posters, memorable for the entire military generation of Soviet people: “Warrior of the Red Army, save!” (V. Koretsky), “Partisans, take revenge without mercy!” (T. Eremin), "The Motherland is calling!" (I. Toidze) and many others. More than 130 artists and 80 poets took part in the creation of the satirical TASS Windows.

2. Works of the masters of the Great Patriotic War

Mitrofan Borisovich Grekov is an outstanding battle painter, the founder of Soviet battle painting. Mitrofan Borisovich Grekov was born on the Don. His mother was a peasant woman, and his father was a poor landowner and came from an old Cossack family. The undoubted abilities of the boy prompted his parents to send him to the Odessa Art School. Here he was greatly influenced by the famous artist-teacher K.K. Kostandi. In 1903, on the recommendation of the school, Grekov was enrolled in the St. Petersburg Academy of Arts. He studied with I.E. Repin and professor of battle painting F.A. Roubaud. In 1911, Grekov graduated from the Academy and was called up for active military service. As soon as the imperialist war began, he got to the “lower rank” on the Western Front, and in 1916 he became seriously ill and was demobilized from the army.

During the war, Grekov was not able to work systematically, but nevertheless he created the painting “The Battle of Berzalupy” (1916) and a series of watercolors that convey individual combat episodes (“They are shooting back”, “Wolves at the wire fences”, “Patrols, forward!” and etc.).

The revolution found Grekov at home in the Don region. 1918 and 1919, spent by the artist on the Don, in the area of the fiercest class battles civil war provided abundant material for his work.

In small paintings, the Greeks capture the scenes of the inglorious campaign and retreat of the Volunteer Army of Kornilov and Denikin (“The Kornilovites on Rest”, 1919; “Retreating”, 1919; “Les Miserables”, 1922), the capture of the White Cossack capital by the Red Army units (“Entry of the Volodarsky Regiment in Novocherkassk, 1920). These paintings were the first artistic documents of the era of the Civil War, defining for Grekov and the future themes of his works.

From the very first days of the establishment of Soviet power on the Don, Grekov was closely associated with the Red Army, and in November 1920 he voluntarily joined its ranks. In the army, Grekov began to lead classes in art circles. One after another, his works appear at exhibitions - “To the Detachment to Budyonny” (1923), “Night Intelligence” (1924), “The Red Banner in the Salsky Steppes” (1924) and, finally, the famous “Tachanka. Machine guns move forward! (1925). In all these pictures, the atmosphere of the heroic struggle of the Red Army received a vivid expression. In the canvas “Tachanka. Machine guns advance!" the artist with magnificent skill managed to convey the heroism and romance of the battle. Here everything merged into a single stormy movement: racing horses, carts, people. The intense coloring of the picture enhances its emotional sound. The temperament of the artist infects the viewer, turns him into a direct participant in this stormy, dynamic scene. It seems that the steppe horses will only flash before your eyes and hide in the distance.

Painting «Tachanka. Machine guns move forward! ”, exhibited at the 7th exhibition of the AHRR, secured Grekov's leading place in Soviet battle painting. After this exhibition, Grekov joined the AHRR and headed the Novocherkassk branch of the Association's youth association. In 1926 the artist was demobilized from the army. At the exhibition "10 Years of the Red Army" Grekov showed a number of new paintings: "The Battle for Rostov at the General's Bridge" (1927), "The Battle under the B. Yegorlyk Station" (1927-1928), "Denikin's Retreat from Novocherkassk in 1920" ( 1927) and others. Imbued with the passion and pathos of the battles, full of dynamic movement, these works testified to the high skill of the Soviet battle painter. To collect materials (and Grekov was very scrupulous about historical authenticity), he had to travel to the battlefields, talk with eyewitnesses, and study the archives. Even possessing the Greek compositional gift - the incomparable ability to draw "from oneself" and from memory - it was impossible to do without nature, without successive sketches and options when creating huge multi-figured canvases. Tireless inspired work accompanied the success of the artist.

The desire for monumental compositions, for a wide coverage of events, led Grekov to panoramic painting. Also in youth he helped his teacher F.A. Roubaud is working on panoramas, now he is captured by the dream of reviving this art. In 1929, Grekov created the diorama "The Capture of Rostov", some of his new paintings resemble sketches for panoramas ("Devil's Bridge", 1931), others are directly part of future dioramas ("Disarmament of Denikinists", 1933).

In the last years of his life, Grekov created a number of fundamental works: “Konarmeiskaya tachanka” (1933), “Trumpeters of the First Cavalry Army” (1934), “To the Kuban” (1934), etc. These last works can be used to judge the increased coloristic skill of Grekov . Some monochrome of the ocher-gray range of his early paintings is removed. Paints acquire a richness of shades.

In 1934, Grekov, full of new creative ideas, went to Sevastopol with a group of artists to work on the panorama "Storm of Perekop". But sudden death from a heart attack cut short all plans.

Thousands of workers and soldiers of the Red Army buried Grekov. In the order of the People's Commissar of Defense K.E. Voroshilov, dedicated to the memory of Grekov, said: “He tried to show only historical truth as he saw it with his own eyes, and he knew that this truth was so beautiful, so saturated with the genuine heroism of the insurgent masses, that it did not need any artificial embellishment. And so the canvases of the artist Grekov with their boundless southern steppes, engulfed in revolutionary fire, red horsemen, in the smoke of bloody battles rushing towards death and victory, will forever remain the most valuable living documents of the harsh and majestic era of class battles ... "

After the death of Grekov, the Studio of Military Artists named after him was created in Moscow.

painter war painting

Conclusion

The topic has been completed. It cannot be said that the goal has been achieved, because the topic is very broad and multifaceted.

The bottom line is that every war does not go unnoticed. And there are people who can capture her for who she really is. Artists have always raised people's spirits with the same posters and drawings. Their contribution has been invaluable. By conveying on canvas or even on a piece of paper what they see and feel is able to convey to us the spirit of that time, how they lived and what happened.

List of illustrations

Fig 1 A. Chernyshov. M.B. Greeks in the First Cavalry Army. 1958

Fig 2 A. Semyonov. MB Grekov with a group of students in the workshop of F. Rubo. 1974

Fig 3 G.I. Prokopinsky. K.E. Voroshilov and members of the Revolutionary Military Council in the workshop of M.B. Grekov. 1955