M. Bree-Bain. Women radio operators. 1933 ~ O. Vereisky. Three sisters
E. Samsonov. To new lands. 1954
S. Kamanin. Construction of tugboats. 1953
E. Danilevsky. Steel sample. 1952
I. Simonov. Foundry workers. 1959 ~ E. Kharitonenko. Electric welder. 1959
A. Deineka. Who will win. 1932
V. Kuptsov. ANT-20 ("Maxim Gorky"). 1934
B. Yakovlev. Transport is getting better. 1923
G. Ryazhsky. Mine. Ural. 1925
V. Malagis. Steelworkers. 1950
I. Bevzenko. Young steelworkers. 1961
N. Bazylev. Excursion to the factory. 1956
G. Brzozowski. In the steel smelting shop. 1964
Ya. Romas. On rafts. 1949
M. Maltsev. On watch. 1953
V. Tsvetkov. Poultry farm. 1971
M. Maltsev. Crane operator. 1953 ~ Z. Popova. Good catch. 1970
S. Balzamov. Frontline worker. 1951
N. Bazylev. Plant named after Ordzhonikidze. 1972
A. Petrov. "Mosfilm". 1978
A. Petrov. Moscow. Kazan Station. 1981
V. Firsov. Column. 1984
F. Reshetnikov. Arrived on vacation. 1948 ~ F. Reshetnikov. Two again. 1951
T. Yablonskaya. Morning ~ Yu. Raksha. Little bathers. 1979
N. Zhukov. We are growing and doing well. 1953 ~ A. Laktionov. Visiting grandchildren
I. Vladimirov. At the girls' school ~ V. Korneev. Schoolchildren at a concert. 1952
F. Reshetnikov. For peace! 1950 ~ N. Solomin. Young mothers
E. Gordiets. Illuminated by the sun. 1982 ~ B. Ugarov. Mother
K. Petrov-Vodkin. Sleeping baby. 1924
Yu. Kugach. At the cradle
N. Terpsichorov. Window to the world. 1928
P. Krivonogov. Girl with skis. 1963 ~ V. Zholtok. Winter has come. 1953
A. Ratnikov. We had a walk. 1955
T. Yablonskaya. In the park. 1950
T. Yablonskaya. I caught a cold. 1953
N. Ulyanov. Bullfinches
D. Kolupaev. Holiday at school. On the Christmas tree. 1949
A. Kostenko. I. Michurin with children. 1964 ~ P. Drachenko. Pioneer song. 1959
V. Zholtok. Girl with a red hat. 1955
A. Mylnikov. Verochka on the veranda. 1957
S. Grigoriev. Goalkeeper. 1949
K. Uspenskaya-Kologrivova. Didn't take me fishing
S. Grigoriev. Fisherman. 1958
I. Shulga. Pioneers visiting the Black Sea residents. 1940
P. Krylov. Two Natashas
R. Galitsky. At the finish line
I. Shevandronov. In the village library
I. Shevandronov. The rehearsal is underway. 1959
A. Deineka. Future pilots. 1937
V. Pribylovsky. Future captains. 1963
S. Grigoriev. Pioneer. 1951 ~ P. Krokhonyatkin. Children on the balcony. 1954 ~ O. Bogaevskaya. Children's holiday. 1980
E. Chernyshova. Vyshnevolotsk brides. 1984 ~ A. Levitin. Peace to the grandchildren. 1985
K. Petrov-Vodkin. Girl with a doll. 1937 ~ M. Bogatyrev. Future champions. 1950
Ya. Titov. At the mausoleum of V.I. Lenin. 1953
P. Krivonogov. Funeral of I.V. Stalin. 1953
I. Davidovich, E. Tikhanovich. May Day demonstration
I. Davidovich, E. Tikhanovich. May Day demonstration (fragment)
A. Kazantsev. I.V. Stalin with his mother
B. Vladimirsky. Roses for J.V. Stalin
I. Penzov. Happy childhood. 1978
L. Kotlyarov. Bread and salt (L. I. Brezhnev with village workers)
I. Radoman. L. I. Brezhnev on ZIL
A. Gerasimov. I.V. Stalin and A.M. Gorky at the dacha. 1930
A. Gerasimov. Family portrait. 1934
People's Artist of the USSR A.M. Gerasimov
Despite his parents' reluctance, he goes to Moscow, passes the drawing exam brilliantly and becomes a student at the School. His teacher in the landscape class was M.K. Klodt, in the head class - K.N. Gorsky and A.M. Korin, in the figure class - S.D. Miloradovich and N.A. Kasatkin, in the full-scale class - A.E. Arkhipov and L.O.Pasternak. Teachers V. Serov, K. Korovin, A. Vasnetsov gave him a lot in painting. Having brilliantly completed the painting department of the School, A.M. Gerasimov decided to attend the workshop of K. Korovin. To do this, it was necessary, on Korovin’s advice, to enroll in another department of the School. Gerasimov firmly decided on architecture. Konstantin Korovin, rightfully considered the founder of Russian impressionism, gave him a lot. Often visiting Paris, K. Korovin told students about French impressionism and, of course, influenced the work of young Gerasimov. This influence can be especially seen in his early student works, created in 1912-13: “Portrait of V.A. Gilyarovsky”, “Portrait of N. Gilyarovskaya”, “Portrait of V. Lobanov”. All these works were written at V. Gilyarovsky’s dacha, in Gilyaevka. “Portrait of V.A. Gilyarovsky” is now in the writer’s apartment in Moscow, and two other portraits are in the collection of the museum-estate of A.M. Gerasimov.
During these years, V.A. Gilyarovsky often attended student exhibitions at the School of Painting, Sculpture and Architecture. From the works, he could easily determine not only the artist’s talent, but also where this or that artist came from. He acquired paintings by the very young Gerasimov, supported him morally and financially, and this had a beneficial effect on the artist’s work.
In the garden. Portrait of Nina Gilyarovskaya, 1912
Portrait of art critic V.M. Lobanov. 1913
At the end of the 30s, A.M. Gerasimov became interested in portraiture: “The portrait genre is the main type of my creativity, expressing my essence as an artist,” Gerasimov wrote. The artist was attracted by creative, intellectually rich and significant personalities. “I loved and love the strong and bright in nature, I look for the same in a person and when I find it, I uncontrollably want to capture it in a colorful image,” recalled A.M. Gerasimov. The need to perpetuate a strong, beautiful person, seen in his broad connections with time, era, and environment resulted in the creation of a truly grandiose series of portraits. Among them, “Portrait of the ballerina O.V. Lepeshinskaya” (1939) especially stood out. The ballerina is depicted in the rehearsal hall, against the backdrop of a huge mirror, standing on pointe shoes. This technique allows you to show the dancer’s figure from two angles. The mirror reflects a table with makeup supplies and part of a ballet barre, and the easel at which the artist worked is also visible.
Remarkable are the portraits of A.K. Tarasova (State Russian Museum), the Moscow Art Theater actor I.M. Moskvin (1940) (Lvov Art Gallery), “Portrait of the artist Tamara Khanum” (1939). Later he wrote “Group portrait of the oldest artists of the State Academic Maly Theater of the USSR A.A. Yablochkina, V.N. Ryzhova, E.D. Turchaninova” (1956), “Portrait of Rina Zelenaya” (1954), etc.
Portrait of the artist A.K. Tarasova. 1939 ~ Portrait of a daughter. 1951
A.M. Gerasimov. Portrait of K.E. Voroshilov. 1927
Portrait of Klim Petrovich Voroshilov, grandson of K.E. Voroshilov. 1949
Gerasimov Alexander Mikhailovich
Gerasimov had the gift of easily capturing portrait likeness and felt himself primarily a portrait painter. Among his works, images of high-ranking people gradually begin to dominate. Gerasimov gained particular fame as the author of numerous images of V.I. Lenin, I.V. Stalin and major party bosses. He deliberately gave his brush to the service of the triumphant communist government in exchange for personal prosperity.
Extraordinary talent, cheerful, “luscious” style of painting - all this, as the artist moved up the career ladder, acquired a ceremonial luster (Portrait of K. E. Voroshilov. 1927. Museum of Contemporary History of Russia). His most recognized paintings were “V. I. Lenin on the podium" (1930. State Historical Museum; repeat 1947 in the State Tretyakov Gallery) and "Speech by V. I. Lenin at the Plenum of the Moscow Soviet on November 20, 1922" (1930. State Historical Museum).
Success and recognition were not long in coming. At the beginning of 1936, a personal exhibition of Gerasimov opened in Moscow, where 133 works were shown, starting with the earliest ones. The central place, of course, was occupied by portraits of party leaders; the main place in the exhibition was given to “Speech by J.V. Stalin at the 16th Party Congress” (1933. Archive of artistic works).
Unlike many others, Gerasimov was allowed to travel abroad. In the 1930s he visited Berlin, Rome, Naples, Florence, Venice, Istanbul and Paris. Abroad, the artist wrote many sketches (“Hagia Sophia.” 1934. State Russian Museum) and constantly attended art exhibitions. But the “correct” fighter for socialist realism did not like what he believed was the unprincipled art of Europe. French artists, according to Gerasimov, listened with interest to his stories about “artistic activity in the USSR.” “The wonderful life and working conditions of artists in the Soviet Union, where all types of art are surrounded by the care of the party and the government, seemed like a fairy tale to them” (Sokolnikov M. A. M. Gerasimov. Life and creativity. - M., 1954. P. 134. ).
In the second half of the thirties and in the forties, such officially pompous works of Gerasimov appeared as “I. V. Stalin and K. E. Voroshilov in the Kremlin” (1938. Tretyakov Gallery), “I. V. Stalin makes a report at the XVIII Congress of the All-Union Communist Party of Bolsheviks on the work of the Central Committee of the All-Union Communist Party of Bolsheviks (1939. Tretyakov Gallery), “Hymn to October” (1942. State Russian Museum), “I. V. Stalin at the tomb of A. A. Zhdanov" (1948. Tretyakov Gallery, Stalin Prize 1949). Such “epoch-making” paintings were usually created using a team method, that is, by apprentices - the maestro himself prescribed only the critical details. His huge canvases, full of poster pathos, became standards of the official style of Soviet art.
His paintings created the image of a “wise leader” and played an important role in propaganda campaigns. The artist uncontrollably flattered Stalin both in his pompous images of the Secretary General and in his statements about him. Perhaps, just to raise his authority, he assured that Stalin, in conversations with him, “expressed the most valuable, for us artists, comments concerning the very topic of our craft.” However, Stalin himself did not consider himself a connoisseur of painting; rather, he was indifferent to it, unless it concerned his own portraits (Gromov E. Stalin: power and art. - M., 1998. P. 288, 305.).
The artist tirelessly also painted portraits of high-ranking officials of the Communist Party and government (Portrait of V.M. Molotov. [V.M. Molotov speaks at a meeting at the Bolshoi Theater on November 6, 1947]. 1948. Tretyakov Gallery), military leaders and heroes of socialist labor . Sometimes Gerasimov also painted representatives of the creative intelligentsia: “Ballerina O. V. Lepeshinskaya” (1939), “Group portrait of the oldest artists I. N. Pavlov, V. N. Baksheev, V. K. Byalynitsky-Biruli, V. N. Meshkov "(1944, Stalin Prize 1946). He also painted portraits of his family – “Family Portrait” (1934. Museum of the Republic of Belarus).
For himself, Gerasimov was engaged in rough and simplified eroticism; numerous sketches for the unfinished paintings “Village Bathhouse” (1938, A.M. Gerasimov House-Museum, Michurinsk) and “Polovtsian Dances” (1955, property of the artist’s family, Moscow) have been preserved. On the theme of the “Village Bathhouse,” Gerasimov wrote many sketches “for himself” over many years (Village Bathhouse. Etude. 1950. Collection of the artist’s family). He also “vented his soul” in his work on illustrations for “Taras Bulba” (1947-1952), in which he may have been looking for lost paths to the national romanticism of the beginning of the century.
By the end of the 1930s, during the period of mass repressions and the emergence of the totalitarian Stalinist system, Gerasimov achieved complete official success and prosperity. Now he is not only a courtier, a highly paid painter, Stalin’s favorite, but also an empowered leader of the country’s artistic life. He was entrusted to lead and, most importantly, control the work of other artists. He was appointed chairman of the board of the Moscow branch of the Union of Artists (1938-1940) and chairman of the organizing committee of the Union of Soviet Artists (1939-1954). When the USSR Academy of Arts was created in 1947, Gerasimov was appointed its first president at the insistence of Voroshilov; he remained in this chair until 1957.
In all his posts, Gerasimov showed himself to be an energetic assistant to the party in suppressing the creative intelligentsia. He strictly fought against any deviations from socialist realism under the false slogan of “loyalty to the great traditions of Russian realism.” He firmly and consistently fought against “formalism”, against “admiration for the degenerate art of the bourgeoisie.”
As a devoted assistant of Voroshilov, he actively contributed to the closure in 1946 of the Museum of New Western Art, in the building of which the Museum of Gifts to J.V. Stalin was located. In 1948, during a discussion on formalism, he tirelessly advocated “for high ideological art,” that is, for art that was emasculated and ideological. Gerasimov asked rhetorically and answered bluntly: “Why should I consider the tastes of formalist artists above my taste? [...] with all my gut I understood that this was some kind of death, I was sick of all this and aroused hatred, which still does not diminish.”
With particular fury and pleasure, he trampled the impressionists. Gerasimov’s faithful people sought out rebellious artists and reported them to the strict guardian of the socialist realist order. The proceedings were always short and peremptory. If the artist painted with brushstrokes, then the accusation of “impressionism” followed. From that moment on, any works by such a disgraced painter were no longer accepted anywhere and he was doomed to a hungry existence.
At the same time, Alexander Gerasimov perfectly understood what real art and true creativity are. When his thoughts were far from responsible posts and high stands, he created chamber, lyrical works, giving preference to landscape and still life. These works reflected, willy-nilly, the painting system of his teacher Konstantin Korovin. Many of them bear clear traces of impressionistic writing: “Song of the Starling” (1938. Tretyakov Gallery), “Apple Trees in Blossom” (1946. Collection of the artist’s family). In my opinion, his best work is “After the Rain. Wet Terrace" (1935. Tretyakov Gallery). In it, the artist showed true painting skill.
In everyday life, Alexander Mikhailovich was known as a gentle and friendly person. In conversations with close people, he allowed himself very unorthodox statements. He advised young artists: “The most important thing is to grab life by the tail. Its uniqueness. Don't go after particularly formal paintings. You’ll get the money, but you’ll lose the artist in you.”
In his old age, the venerable artist seemed to have decreased in stature and looked like a dwarf, his wrinkled yellow skin hung in folds on his face, and his black Mongoloid eyes looked sad under flabby eyelids. There was nothing villainous in his appearance. He said about himself: “I am a pure Russian! But the Tatars, apparently, have been thoroughly present in my family. I would like to sit on a horse, beat dried basturma under the saddle, drink if I want, trim a horse’s sinew, drink blood. However, I’ve already sucked the blood of all sorts of formalists, and imagists, and Jack of Diamonds guys like this... I don’t want any more, I’m sick...”
With the death of Stalin, Gerasimov's influence began to fade, and after the 20th Congress of the CPSU and the exposure of the cult of personality, the former ruler of artists was removed from business. In 1957, he lost his post as president of the Academy; paintings of former leaders were removed to museum storerooms.
Gerasimov’s disgrace was perceived by the intelligentsia as one of the symptoms of Khrushchev’s “thaw”. However, the artist himself, who highly valued his talent, considered himself undeservedly rejected. When one of his friends, an art critic, met the former head of socialist realism on the street and asked how he was doing, he responded with a striking phrase: “In oblivion, like Rembrandt.” However, he exaggerated the extent of both his rejection and his talent. Socialist realists will be in demand until the fall of the partyocracy in 1991.
The phenomenon of Gerasimov and many similar artists of the Soviet period is ambiguous. Gerasimov is a painter endowed by God with great talent. Any master in his work, whether he wants it or not, depends on power, on socio-culture, on the established community, on money. To what extent can he afford to make compromises that cannot be avoided? Gerasimov clearly crossed the invisible line of demarcation. He began to serve not his Talent, but the Leaders.
After the rain. Wet Terrace, 1935
The exhibition at the Tretyakov Gallery includes two paintings by Gerasimov: “Wet Terrace” and “I.V. Stalin and K.E. Voroshilov in the Kremlin.” An example of a creative alternative for future art historians. But, perhaps, descendants, when they are covered with the patina of time, the crimes and injustices of the Stalin era, will see in them only a great artistic gift, regardless of the political situation of the past. And in the still unwritten history of Russian art there will remain both “Wet Terrace” and “I. V. Stalin and K. E. Voroshilov.” As outstanding monuments of their era. After all, no one now would think of reproaching D. G. Levitsky, F. S. Rokotov, V. L. Borovikovsky, I. E. Repin, V. A. Serov for the royal portraits.
Alexander Mikhailovich Gerasimov died in Moscow on July 23, 1963; in the same year, the memoirs of a “militant socialist realist” (“The Life of an Artist”) were also published.
In March 1977, a memorial house-museum of the artist was opened in Michurinsk. This is an extensive two-story brick building. There is a garden, outbuildings, a carriage house and a barn. Apparently, the artist’s parents were wealthy merchants who knew how to trade profitably. The son followed in their footsteps.
Soviet artists, in our understanding, are necessarily revolutionary or imperial painters. We are unlikely to include the heirs of movements that formed before the October Revolution in this category, as well as nonconformists, avant-garde artists and others who existed not thanks to the USSR, but in spite of it.
Deineka had an amazing ability to penetrate into a person’s soul, knew how to show him in relationship with the world - and the world is always filled with a mood, anxious or joyful, screamingly tragic or thoughtlessly summery.
Now we are not happy about waterfalls of rain pouring from the sky, but more than half a century ago people knew how to enjoy everything - if not all the inhabitants of the USSR, then certainly the artist Pimenov. What was he supposed to do back in 1937?
essays on paintings by famous artists on the site
Desn is about accepting with your entire being what is happening around you at the moment. The irrational aspect of admiring nature - without realizing oneself in it - is the Zen of a child. It’s very strange to see Plastov’s “First Snow” being taught to children at school. Or not strange, but true?
essays on paintings by famous artists on the site
An artless image of a birch grove in the spring, when the snow has already melted, but the sky is still cold, windy, the reflection of winter is on it, and the air is also cold, ringing with bird whistles, and last year’s sodden grass squelching underfoot. Baksheev wrote this, the task is complex, but the landscape itself is simple and understandable.
essays on paintings by famous artists on the site
The famous painting by the Soviet artist Tatyana Yablonskaya depicts a joyful morning and in it is the artist’s daughter. The canvas is permeated with sunlight.
essays on paintings by famous artists on the site
The famous painting by Viktor Grigorievich Tsyplakov “Frost and Sun” depicts not the sun itself, but the effects of lighting. The painting contrasts strong houses and sleighs with horses moving along a snowy road towards us, the spectators.
essays on paintings by famous artists on the site
This section presents paintings by Soviet artists, collecting paintings of various genres: here you can find landscapes, still lifes, portraits and various genre scenes.
Soviet painting has currently gained great popularity among both professionals and art lovers: numerous exhibitions and auctions are organized. In our section of Soviet painting you can choose a painting not only to decorate your interior, but also for your collection. Many works of the era of socialist realism have historical significance: for example, the city landscape has preserved for us the lost appearance of familiar places from childhood: here you will find views of Moscow, Leningrad and other cities of the former USSR.
Genre scenes are of particular interest: like documentary newsreels, they recorded the features of the life of Soviet people. Portraits of this time also wonderfully convey the mood of the era, telling about people of various professions and destinies: here are workers, peasant women, military leaders, and, of course, the leaders of the proletariat. Children's portraits of the era of socialist realism are a direct embodiment of the concept of “happy childhood”. The site also widely presents the genre of industrial landscape, characteristic of Soviet art.
Our specialists will help you choose a suitable painting or sell works from your collection on our website.
The antiques category “Soviet Fine Art” presents more than 2 thousand different works by masters from the period of the revolution of 1917 to 1991. Official ideological thought had a great influence on the creators of this period, which is reflected in many thematic works presented in this catalogue. Art has become closer to the common man, as evidenced by the unique portraits of ordinary workers, pioneers, and Komsomol members. These are the types of works that the antiques store presents on its pages.
Military themes became a separate direction of Soviet inventive art. Such antiques are valuable not only for the technique of execution, but also for the history itself displayed on the canvas. The cost of each canvas is determined individually depending on the following important factors:
“Buy a Painting” gives users a unique opportunity to purchase antiques from those times at affordable prices. The paintings perfectly convey the feelings and experiences of Soviet people and reflect their everyday life. The user is presented with antiques depicting the great driving movements of the USSR, posters with slogans known throughout the country, still lifes, illustrations from books, graphic works and, of course, beautiful landscapes from various parts of the Soviet state.
In an antiques store you can find traditional paintings from that period. Many Soviet artists worked in the genre of realism, and starting from the 60s, the direction of “severe style” became popular. Still lifes on various themes were also very popular. Such antiques are also presented on the site, and you can view all offers.
It is worth noting that political posters became a separate type of fine art during the Soviet period. They played an important social and ideological role. These antiques have survived to this day; some examples are presented in the corresponding “Buy a Painting” category. Beautiful landscapes by famous Soviet masters are of enormous artistic value and decorate the best domestic galleries today. In the catalog you can find their reproductions and make a purchase.
Today I’ll tell you about paintings that depicted life in quite realistically, but which were banned from being shown in that very USSR, and for the very painting of such paintings they could be put in prison. Why did this happen? The Soviet government declared “socialist realism” its official “ideology in art” - paintings, films, plays and books were supposed to show “the real life of ordinary Soviet people,” but in reality such works of art showed only the varnished underside, but not the real reality.
The truth about what life really looked like in the USSR sometimes slipped through in books, then in, and then in such paintings, a selection of which I will show you today. These paintings were painted by Vasily Kolotev, a wonderful Soviet artist of the 1970-80s, they depict that same “socialist realism”, only his paintings were banned in the USSR.
First, I’ll tell you a little about the artist. Vasily Ivanovich Kolotev was born in 1953 in the village of Vtoroe Nikolskoye in the Voronezh region, and began painting from childhood. At first, Vasily attended an art studio, and in 1969 he entered an art school. After serving in the army, Vasily moves to Moscow, where he lives in a small room in a communal apartment in the Arbat area.
A small room on Arbat becomes the main creative studio of the artist Kolotev - there he paints in an abstract style, and also copies paintings by Dutch artists, honing his skills. Around the same time, Vasily’s own style of painting was born - sketches on the theme of Soviet life. Somewhere nearby there were bravura socialist realist paintings with happy and powerful Soviet citizens, and the heroes of Kolotev’s paintings lived their quiet and inconspicuous lives as inhabitants of communal apartments and regulars in gateways.
Of course, in the USSR, Kolotev’s paintings were banned; such “real socialist realism” was not needed by the authorities - during the Soviet years, Kolotev did not hold a single exhibition, and was also forced to work as a repairman and graphic designer at a weaving factory - so as not to be considered a “parasite.” . Vasily was able to organize his first official exhibition only in 1992 - and almost all the paintings from it immediately scattered to galleries in Paris, New York and Berlin.
Now Vasily continues to work fruitfully in different styles, and he also has his own website where you can view his work.
Now let's look at Vasily's paintings, which were painted during the USSR period and are dedicated to everyday Soviet life.
01. "And the ship sails on. Beer". You can show this picture to everyone who talks about how delicious beer was in the USSR and how wonderful the pubs were - Vasily’s painting perfectly conveys the atmosphere of these “wonderful pubs” - unsanitary conditions, dirt, a snack in the form of stinking sprat from a can. In the picture, by the way, the beer hall is quite “prosperous” - with glass beer glasses; In some pubs beer was sold only in half-liter cans.
02. "0.5 is not accepted". A picture dedicated to glass container collection points. The point itself is located, apparently, in some kind of half-abandoned pre-revolutionary house, and the structure for carrying empty bottles (from a bag and a wicker basket), which was built by the woman in the foreground, is also impressive.
03. "Resurrection". A painting depicting some kind of fenced-in yard in which men are sipping beer on a day off. By the way, Vasily did not sign his painting “He is Risen” Nye", and "Is Risen tion", so perhaps what is meant here is not the day of the week, but, say, “a Sunday after a heavy drinking session due to a beer hangover.”
04. "Boulevard Scene". Here you can see guys drinking bitters right somewhere on a snowy boulevard. A janitor can be seen in the background ( by the way, Soviet feminist), removing snow.
05. "Boulevard Scene-2", the same plot is played out here, but the main characters are presented from the back, plus in the center of the picture you can see some other Soviet sculptural composition. Also, unlike the previous picture, the heroes of this painting are dressed in quilted jackets.
06. "Arrest of a propagandist. Sobering-up station". In this picture, Vasily depicts life quite believably. The captive alcoholic has already been stripped and is apparently being prepared to spend the night in a common cell.
07. The painting entitled "Hello" depicting everyday life. The aunt, with her head wrapped, went out of the kitchen into the corridor to talk on the common apartment telephone - such telephones remained in communal apartments until the very beginning of the nineties.
08. "The Ninth Wave". One of the most famous and most terrible paintings by Kolotev. A drunkard husband in blue Soviet sweatpants is sleeping on the table, and his wife with a baby in her arms and a second child on the floor sits with an air of utter despair and detachment.
09. "Domino". During the Soviet era, men often sat in the yard for hours playing dominoes, cards and other meaningless games. Frequently, all sorts of loaders and auxiliary workers whiled away their time in this way; salaries in the USSR were calculated according to the principle “a soldier is sleeping - service is in progress.”
10. "Red Calendar Day". Another famous painting by Vasily, depicting the proletariat, licked to the point of vestments, properly noting.
11. "Cross-trump" Some movers and saleswomen playing cards in the backyard of the store. “Housing Office” is written in crooked letters on the trash can.
12. "The poplar leaves are falling from the ash tree." The picture depicts, apparently, some kind of courtyard gathering, which fans of the USSR so often now like to remember.
13. The canvas called "Master of his craft-1". Depicts a street sharpener of knives, axes and scissors that walked around the yards until approximately the early 1970s. The sharpener operated from a foot pedal drive, which created torque on the shaft of the sharpening wheel.
14. And here "Master of his craft-2", the work of a street shoe maker is shown here. Well, do you already want to go to such a USSR?
15. "Moscow courtyard." From this picture one can assess the state of Soviet urban infrastructure.
16. "On the Staircase". The painting depicts a classic trio of “thinkers for three”, settled in the entrance between the floors.
17 . A wonderful painting called "Vegetables fruits"- according to the name of the store sign in the background, while the store itself is only the background against which the action unfolds - women lined up for the street weigh-in, themselves resembling giant fruits and vegetables.
18. "Queue". The canvas depicts a gigantic queue at the grocery counters, while in the refrigerator counters you can see an extremely meager assortment. In the center of the composition are Soviet lever scales, which often became the subject of fraud and speculation by unscrupulous saleswomen.
19. "Entrepreneur". The painting shows a street shoe seller.
20. "Cutting by cuts". The Soviet meat trade is shown.
21. Several everyday scenes from the life of communal apartments. Painting "The boat is sailing, sailing", depicting a bathroom in a communal apartment.
22. "Theme II". Shown is a toilet in a communal apartment.
23. "Neighbor's Morning".
23. "Bird market".
Well, how do you like the pictures, what do you think?
The Soviet period in the history of Russia is a period of almost eighty years, during which the country, without a shadow of a doubt, changed more than during the last two hundred years of the reign of the Romanov dynasty. These changes have affected absolutely all spheres of life, from everyday life to breakthroughs in science, the development of technology and, of course, art.
We cannot ignore the fact that the population of pre-revolutionary and post-revolutionary Russia are absolutely two different societies, and the revolution of 1917 itself became a kind of watershed that forever established the boundaries of eras.
Historical events can be viewed in different ways, but for collectors of antiquities and art, history is the setting within which the object of their interest was created on the stage of time. For students of the artifacts of time, history serves as an explanation of why this or that thing looks the way it does. It cannot be denied that the Soviet government began its fight against illiteracy of the population and paid maximum possible attention to issues of education, realizing that such citizens would be at least a little more useful to society. Art education, which was previously available to a much smaller percentage of the population, was no exception. Of course, the party elite and the leadership of the USSR had their own interest in this. They needed those who would illustrate the life of the new country and demonstrate its achievements and superiority over the old world. Nevertheless, despite the huge imprint of propaganda, which could not but leave an imprint on artists and their works, it was in the Soviet Union that many artists who later became very famous were not only born and developed. But even the creators who began their journey under Tsarist Russia developed much faster than their Western colleagues; Soviet painting had its own recognizable handwriting and style.
If you are reading this text, it means that you are, to one degree or another, interested in such a layer in the fine arts as Soviet painting. Working with artists’ canvases is a priority direction of the “Russian Antique Gallery” and, of course, we could not ignore the most interesting works of Russian artists who painted their paintings during the Soviet era.
You don’t have to be a sophisticated collector to want to buy paintings from the times of the Soviet Union. With a relatively affordable price compared to paintings by Western European artists of the nineteenth century, paintings from the Soviet Union are no less interesting and were painted in a unique period of time by real masters. Often Russian and other art lovers begin their collection of paintings with works by USSR artists. One of the explanations for the interest in Russian painting of that period can be called the unusually high level of training of artists and art education of the Soviet school as a whole, as well as the greater accessibility of education in general.
It is not without pride that we invite you, before buying Soviet paintings, to familiarize yourself with our section in order to evaluate the level of skill and genius of Soviet artists, and choose the paintings you like.
For many, Soviet painting will certainly evoke nostalgic feelings, because these works largely reflect their childhood. Half-forgotten life of the past, ancient buildings and streets that today have changed beyond recognition, stadiums, demonstrations, the work of workers, harvesting, scenes from production, demonstrations of the achievements of Soviet craftsmen. These motifs come to us from the paintings of many creators of the USSR. Our collection includes works by such artists as:
· A.A Deineka
· E.E. Moiseenko
· A.I. Lutsenko
· Yu.A Volkov
If you want to start collecting USSR paintings, we recommend that you first determine the boundaries of your collection. They can be the time period, theme, creative association, method of painting and much more. Of course, when determining the boundaries of your future collection, it is best to consult with people immersed in the environment of antique fine art, who will at least help you with advice on how to avoid the pitfalls and mistakes that await beginners. The experts of the Russian Antique Gallery are always ready to give you advice on any questions of interest.
We also always recommend that you first buy Soviet paintings by currently little-known artists for your collection. Their paintings are cheaper, but just like any antique, they consistently increase in price, being an excellent investment, much more reliable than modern banks. Moreover, the world of antique fine art also has its own fashion. Just yesterday, an artist known only to a narrow circle of professionals suddenly receives worldwide recognition, an academic scientific article or scientific material is published on the topic of his work, and his canvases instantly become needed by everyone and, consequently, seriously increase in price. And such cases are not exceptions at all.
You can buy a painting by a Soviet artist as well as a decorative element. And this solution also has many advantages that cannot be discounted. Let us note that the painting of the USSR has its own characteristic and recognizable features, the skillful use of which can either create a certain atmosphere of a bygone era, or emphasize some “Russianness” of the space in which the painting is located. Soviet painting is very accessible to those looking for an interior solution by the very fact of its quantity, and, therefore, this section of the “Russian Antique Gallery” is regularly updated. No less interesting is the stylistic and genre diversity of works by Russian artists in the USSR. The rapid change of ideological paradigms of Soviet society gave rise to very, very much in an amazingly short period of time. The explosion of the avant-garde, which gave birth to absolutely all the main art movements of the twentieth century: abstractionism, suprematism, constructivism, futurism, rayonism, analytical art, which developed towards socialist realism. Later, thanks to this amazingly multifaceted path, the world of fine art received nonconformist artists who created their canvases in the period of the 60s to the end of the 80s of the twentieth century. And all this diversity existed
and developed in parallel, being either in favor or out of favor with the ruling elite. This is an incredible and multifaceted period that is simply impossible not to love and appreciate.
Despite the fact that the “Russian Antique Gallery” deals with rarities of the past, we all live in the present and quite modern world. Who else knows that the most valuable thing a person has is time. And in pursuit of his witnesses, you can lose this precious resource. By creating this site, the team of our store put a lot of effort into making buying Soviet paintings as convenient and simple as possible, in order to save your personal time, which you can always spend on things that are important to you.
Buying paintings by Soviet artists today is easy and simple in our online store, spending just a few minutes and completing the minimum possible number of steps. Absolutely every item from the archives of our store is presented on our website, accompanied by a detailed description, with the maximum possible indication of all important data for the rarity, as well as with high-quality photographs in which you can easily see the antiques in the smallest detail. To buy Soviet paintings, all that remains for you is to find a painting that interests you, place it in the cart and complete the order. After this, our managers will contact you and discuss the details.
If you have any questions about any painting or item presented in our online store, you can always contact us through the feedback form or call the number indicated in the upper right corner. Our specialists are always happy to help you.
For those who are accustomed to making purchases only by directly examining the item with their own eyes, our online store, where Soviet painting is presented, is also not useless. It shows the current availability of items in our collection and allows you to get all the necessary brief information about the antiques you are interested in.
Our team of experts works every day to find new unique items for our collection and is always ready to accept individual orders to search for specific items. The best way to buy Soviet paintings is to come to our store and tell our consultant what kind of painting you are interested in, and we will accept your request for work. The employees of the Russian Antique Gallery have completed hundreds of individual orders, and we are confident that we will be able to find the item you are interested in on mutually beneficial terms.
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