Exhibitions of Fine Art of Leningrad

The art exhibitions of Petrograd — Leningrad of the post-revolutionary years reflected the changes that took place in society and art, the attempts of the authorities to include fine art in the system of state relations, accompanied by a struggle of opinions and the presence of polar views on the main issues of cultural policy.

With the revolution, Petrograd inherited a system of art exhibitions in the form in which it developed in the Russian capital by 1917. She was distinguished by a number of features. The main exhibition venues were the halls of the Academy of Arts and the Imperial Society for the Promotion of Arts (OPH). Unlike a number of European capitals, in St. Petersburg and Petrograd private art galleries with their own exhibition space and a circle of artists did not receive distribution. The only such institution was the art bureau of N. E. Dobychina .

Therefore, St. Petersburg exhibitions traditionally performed not only a cultural and educational function, but also were the place where the buyer got acquainted with new works and agreed on the purchase of paintings. The societies of artists that operated in Petrograd essentially represented exhibition associations with a more or less constant circle of exhibitors. The largest of them at the end of 1917 were the World of Art association, the Association of Traveling Art Exhibitions , the A. Kuindzhi Society , and the Community of Artists . According to D. Severyukhin, "fulfilling the mission of mediation between the artist and the buyer, these associations actually replaced the gallery owners and marshans, who had played a key role in the West European art market since the second half of the 19th century." ^[one]

The first exhibition opened in the halls of the Society for the Encouragement of Arts on the third day after the revolution and the proclamation of Soviet power was the "First Exhibition of Paintings, Etudes and Sketches of the A. I. Kuindzhi Society" (until 1917 the society did not conduct independent exhibitions).). ^[2] Over 400 works by 55 authors were exhibited at the exhibition, including the works of A. A. Rylov , I. I. Brodsky , A. D. Kaygorodov, P. D. Buchkin , A. I. Vakhrameev , A. R. Eberling , M.I. Avilov and others. In December 1917, an exhibition of paintings "Communities of Artists" was opened at the Palace of Arts (2, Engineering Street), over 680 works by 68 artists from Petrograd were exhibited there. ^[3]

The dialogue between the new government and the artists was difficult. In November 1917, the Union of Artists, uniting more than 200 art organizations, rejected the invitation to cooperate. The first representatives of the "left" extended their hand to the Soviet regime. The Department of Fine Arts of the People's Commissariat of Education in early 1918 was headed by D. Sterenberg , who before the revolution was a member of the Bund , who emigrated to France, where he met A. Lunacharsky . V. Tatlin , K. Malevich , O. Brik, V. Kandinsky , S. Dymshits-Tolstaya , A , entered the department of fine arts of the People's Commissariat of Education and its various sections and colleges, which were responsible for the procurement of works, organization of exhibitions, and art education . Drevin , B. Korolev , N. Udaltsova and others are mainly supporters of the “left front of the arts” and the center. They formed a rather strong group, which initially determined the art policy of the department of art of the People's Commissariat for Education, as well as the Moscow and Petrograd Soviets. As later wrote Lunacharsky, this involvement of the futurists in the management of art was forced, since no one but them went to cooperate with the Soviets. ^[four]

On the initiative of the art director in the fall of 1918, the All-Russian Central Exhibition Bureau was formed at the People's Commissariat for Education and approved the “Regulations on Exhibitions” developed with the participation of K. Malevich , which stated the need for state monopolization and nationalization of the exhibition business in order to “free artists from exploiters” and create "Artistic culture of the people." E. V. Logutova calls it "an event that completed the previous stage of the development of exhibition activities." ^[5] However, there was a great distance between the political declarations of the leaders of the Fine Arts of the People's Commissariat of Education and real art life. Art exhibitions in Petrograd were held according to the charters of art societies, which, in turn, as before the revolution, were registered by the authorities. For example, back in 1904, the St. Petersburg mayor issued a mandatory decree on the arrangement and maintenance of exhibition rooms, where in 17 points all the requirements for such premises were detailed. It was also indicated that the opening of exhibitions to the public is allowed only upon prior receipt of permission from the City Council. Thus, long before 1917, not only the content of the exhibitions, but also their organizational activities were placed under state control. ^[6] The requirements were tightened, and finding a suitable venue for the exhibition was not easy. In this regard, the task of the All-Russian Central Exhibition Bureau of the People's Commissariat of Education as a state body was to facilitate local exhibitions, but mainly to coordinate and conduct anniversary and thematic exhibitions of a national scale.

In 1918, regular exhibitions “A. I. Kuindzhi Society” ^[7] , associations “World of Art” , “Partnership of Traveling Art Exhibitions” ^[8] , as well as the thematic exhibition “Russian Landscape” opened in Petrograd. The composition of its participants was representative, including both those who soon emigrated and those who continued to live and work in the USSR: A. N. Benois , B. D. Grigoriev , B. M. Kustodiev , A. E. Karev , I. I Brodsky , A. A. Rylov , N. I. Altman , K. S. Petrov-Vodkin , Z. E. Serebryakova , A. Ya. Golovin , G. S. Vereisky , A. E. Yakovlev , S. Yu Sudeikin and others. ^[9]

In the spring of 1919, in the seventeen halls of the Winter Palace , the "First State Free Exhibition of Works of Art" was opened, the prototype of future city exhibitions of Leningrad artists. Over 1800 works of almost 300 authors were exhibited. The exhibition fully represented the main directions of modern art and the Petrograd art societies, as well as the work of artists who were not members of the associations. Among the exhibitors were I. E. Repin , A. N. Benois , V. D. Baranov-Rossine , P. N. Filonov , K. S. Petrov-Vodkin , N. K. Roerich , M. Z. Chagall , M.V. Dobuzhinsky , I. Ya. Bilibin , Z. E. Serebryakova , B. M. Kustodiev , A. E. Karev , I. I. Brodsky , A. A. Rylov , N. I. Altman , M. P. Bobyshov , V. D. Zamirailo , V. A. Beklemishev , M. V. Matyushin , V. S. Svarog , M. Yu. Klever, V. I. Shukhaev , A. P. Ostroumova-Lebedeva , D. Mitrokhin , Osip Braz and other artists .. ^[10] The exhibition gave a picture of the fine art of Petrograd, a year after the revolution, provided there directions and tiley. As well as the first experience of art reflection of a new reality. In the future, the Hermitage was not used for exhibitions of contemporary Leningrad art. For these purposes, the halls of the Russian Museum and the City Museum (formerly Anichkov Palace ) were provided.

In 1920, the circle of art associations of Petrograd replenished the new "Society of Individualist Artists" , its first exhibition was held in 1921. ^[11] Among the exhibitors of the first exhibitions were artists P. P. Bolotov, I. I. Brodsky , I. A. Weltz, P. I. Volkov, P. I. Geller , Yu. Yu. Klever , A. V. Makovsky , K. E. Makovsky , P. S. Naumov, K. S. Petrov-Vodkin , S. V. Priselkov , S. Ya. Shishmarev, I.F. Schultze and others. The last eighth exhibition of the society opened in 1929 at the Museum of the city (formerly Anichkov Palace). ^[12] In 1923, a branch of the AHRR was opened in Petrograd, it was headed by N. I. Dormidontov . The first exhibition of AHRR members opened in 1924.

In 1923, in the halls of the Academy of Arts, an exhibition of paintings by artists of Petrograd in all directions from 1918-1923 opened, the first citywide exhibition after 1919. It was attended by members of the A. Kuindzhi Society , the Society of Individualist Artists, the Community of Artists, the World of Art , the Association of Traveling Art Exhibitions , the Eye, the Group of 16, and UNOVIS , “Zorved”, Proletkult , “Groups of new trends in art”, as well as individual artists who do not belong to societies. Over 1600 works of 263 authors were exhibited. ^{[13] The} exhibition presented the works of artists for the post-revolutionary period, reflected the new alignment of forces in art, made it possible to generalize the first experience of solving new problems by art.

The largest Leningrad exhibitions of the mid-second half of the 1920s were the 8th exhibition of the Russian Academy of Arts “Life and Life of the Peoples of the USSR” (1926, the State Russian Museum), ^[14] “The Exhibition of the Newest Trends in Art” (1927, the State Russian Museum, with the participation of V. V Kandinsky , D. D. Burliuk , V. E. Tatlin , A. A. Osmerkin , R. R. Falk , P. P. Konchalovsky , M. F. Larionov , N. S. Goncharova , M. Z. Chagall and others), "Anniversary Exhibition of Fine Arts" (1927, Academy of Arts), ^[15] exhibition "Graphic Art in the USSR 1917-1932." at the Academy of Arts ^[16] , exhibition "Modern Leningrad Art military groups ”(1928, State Russian Museum). The annual exhibitions were held by the A. Kuindzhi Society , the Community of Artists , the Society of Individualist Artists , 4 Arts , and the Sixteen group. Leningrad artists actively participated in Moscow and foreign exhibitions, including the “Exhibition of Artworks for the 10th Anniversary of the October Revolution” (1928, Moscow), the “Exhibition of Paintings by Moscow and Leningrad Artists, organized for the 25th anniversary of D. 's artistic and pedagogical activity . N. Kardovsky "(1929, Moscow), in the exhibition" Contemporary and Applied Art of Soviet Russia "(1929, New York, Philadelphia, Boston, Detroit). In the spring of 1926 a group of young graduates of the Academy of Arts in Leningrad created the Circle of Artists association, its members were V. V. Pakulin (chairman), A. F. Pakhomov , A. N. Samokhvalov , A. I. Rusakov , V. I. Malagis , L.R. Britanishsky , A.S. Vedernikov and others. The Krug held three exhibitions in Leningrad, the most significant of which is the second exhibition of 1928 at the Russian Museum . About 150 works, mainly paintings, were exhibited on it. The exhibition worked for a month and a half, causing great interest and benevolent reviews from the press, it was visited by the People's Commissar of Education A. Lunacharsky . ^[17] In 1927 and 1928, two exhibitions of the group of Masters of Analytical Art took place at the Press House and the Academy of Arts. The Academy of Arts resumed exhibitions of theses. The Academy of Arts resumed exhibitions of theses.

In 1930, the trend towards the unification of creative forces was realized in the creation of the “Workshop of Artists” society, which arose as a result of the merger of the A. Kuindzhi Society , the Community of Artists , the Society of Individualist Artists and the Society of Painters. Their works were shown at the Academy of Arts at the "First Citywide Exhibition of Fine Arts" with the participation of K. S. Petrov-Vodkin , M. I. Avilov , I. I. Brodsky , M. P. Bobyshov , A. T. Matveev , A F. Pakhomov , A. S. Vedernikov , R. R. Frents , A. A. Rylov and others. ^[18]

Although the experience of the “leftists” participating in the leadership of the department of fine arts of the People's Commissariat for Education ended by mid-1921, a sharp debate over the development of fine art, attitudes towards easel painting, realism and non-objective art, and art education continued with varying intensity until the mid-1930s. x This struggle was inevitably reflected in the exhibition life of Petrograd — Leningrad. If after the revolution the “leftists” called for the abandonment of pictorial art, which was supposedly characteristic, in the words of N. N. Punin , “for a bourgeois understanding of art” ^[19] , then in 1930 the efforts of proponents of the immediate “proletarization” of art at the Academy of Arts The easel painting department was closed. They motivated this decision by the fact that the supposedly "easel painting has ceased to be a progressive form of fine art." ^[20]

In this environment, the expositions of the exhibitions and the attitude of the broad masses towards them became an important argument in the struggle of opinions. In fact, the Leningrad exhibitions of the 1920s and early 1930s became one of the strongest arguments in favor of turning the state policy in the field of culture towards supporting easel painting and the Russian school of realistic art.

The largest exhibitions of the early 1930s with the participation of Leningrad artists were “Soviet Fine Art of the Reconstructive Period” (1932, State Russian Museum), the anniversary exhibition “Artists of the RSFSR for 15 years”, (1932, State Russian Museum), portrait exhibition (1933, Regional House of Artists) , an exhibition of paintings by the Leningrad Regional House of Artists in the House of Culture named after the First Five-Year Plan (1933), the exhibition “15 years of the Red Army” (1934, the State Russian Museum), “A Woman in Socialist Construction” (1934, the State Russian Museum), “Leningrad in the Images of Modern Artists” (1934, Museum of Construction and Municipal Economy , former Anichkov Palace). ^[21]

After the adoption on April 23, 1932 of the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the Reorganization of Literary and Artistic Organizations” and the formation of a single LOSSH, the latter actually took upon itself the preparation and coordination of exhibitions with the participation of Leningrad artists. The first citywide exhibition after the establishment of LSSH opened in April 1935 at the State Russian Museum . The organizing committee included artists of high creative rank: I. I. Brodsky , M. G. Manizer , K. S. Petrov-Vodkin , A. A. Rylov , M. I. Avilov , N. Рад. Radlov , A. N. Samokhvalova and a number of others. The exhibition exhibited over a thousand works of 282 artists - painters, graphic artists, sculptors, craftsmen, created over the three years of the existence of LOSSH. Most of the works were presented in the painting section, among them the painting “Bread” (1934), “Portrait of the People's Artist P.Z. Andreev” (1934) P.D. Buchkin , “Demonstration on Prospect on October 25” (1934) I. I Brodsky , “The Osaviahim I stratostat” by G. N. Bibikov , “Self-portrait” (1933), “Girl with a flag” (1934) by K. S. Malevich , “Race of yachts” (1934), “On the eve of the Arctic” ( 1934) N. E. Bublikova , “In the Central Control Commission on the Kirov Islands” (1934) G. M. Bobrovsky , “On Maneuvers” (1934), “Physical Culture in the Red Army” (1934) M. I. Avilova , “Harvest” (1934) V. M. Belakovskaya , "Landscape. Armenia" (1934) M. A Aslamazyan others. ^[22]

According to A. G. Raskin , the exhibitors were the “founding fathers” of LOSS, and their works constituted one of the eternal layers of Russian art. The theme of the exhibition was noticeably present “social order”, especially in portraits of Lenin, Stalin and his entourage, which later resulted in a fine cult of the leader and leaders. At the same time, most of the works of the exhibition were characterized by an appeal to the present, searches for a new hero, a reflection of the changing face of cities and villages. In the landscape, the artists expressed their love for the city and the beauty of nature. ^[23]

Exhibitions of the second half of the 1920s - 1930s reflected the increased role of the state as a customer of art products, which became dominant by the end of the 1930s. Thus, almost all the works of books, sculptors, porcelain artists, theater and cinema artists, monumental artists exhibited at the exhibitions were somehow created on the basis of government orders and contracts, which was due to the peculiarities of labor in these types and genres of fine art. In easel painting, these genres were, first of all, a thematic picture and portraits of state leaders. “The visual arts in our country can in no way develop normally without the support of the state. The private market is unlikely to ever come to life with us, and the public market still needs significant processing, development and determination , ”wrote A. V. Lunacharsky in 1928 in an article devoted to the results of the exhibition of state orders for the decade of October. He recognized the exhibition as successful, " as the beginning of a more or less strong connection between the state and the world of artists, a connection that would be mutually useful." ^{[24] [25]}

The higher the status of the exhibition (anniversary, all-union), the more funds allocated by the state to conclude agreements with artists, the higher the proportion of works created by order in the exhibition's exposition. Customer requirements for the content, artistic and ideological level of contractual work were formulated by special advice and commissions. Thematic plans of exhibitions (“temniks”), which previously guided artists in choosing plots of paintings for concluding contracts for a particular exhibition in accordance with its main theme, have spread. For example, the thematic plan of the exhibition “Industry of Socialism” (1939), the preparation for which began in 1935, contained almost 80 pages of text in 12 sections. The circle of artists who were involved in the creation of contractual works in the 1930s was quite wide and varied, and funding was generous. Only the advance payment at the conclusion of the contract could reach up to 8000 rubles, and the budget, for example, of the Socialism Industry exhibition amounted to 10 million rubles, the exhibition XX Century of the Red Army and the Navy - 2.3 million rubles, which in monetary terms of those years represented huge amounts. ^[26] For comparison, the entire budget of LOSSH for 1936 amounted to 1 million 580 thousand rubles. ^[27]

The main purchases of works of art were carried out from exhibitions. They included the best works performed outside the contracts, in the order of the personal creative initiative of the authors. So from the exhibition "Artists of the RSFSR for 15 years" the picture by A. N. Samokhvalov " Girl in a T-shirt " (1932, the gold medal of the Paris World Exhibition in 1937) entered the State Russian Museum . Since the late 1920s, more and more works created by artists based on materials from creative business trips have appeared at exhibitions. Such trips with the purpose of collecting materials and preparing sketches of contractual paintings were paid for from the funds of LOSSH, the cooperative partnership of Lenizo, the All-Artist, publishing houses, and the local budget of Leningrad. For example, at the exhibition "Artists of the RSFSR for 15 years" in the State Russian Museum (1932), a famous series of nine portraits of members of the commune "Lenin's Way" was created, created by A. N. Samokhvalov during two lengthy business trips. ^[28] Based on the materials of another business trip of 1929 to Ivanovo at the Melange Plant, Samokhvalov painted the painting “Weaving Shop” (GRM). The famous series Metrostroyevka (1934, the State Russian Museum) was also born, first shown in 1935 at the First Exhibition of Leningrad Artists.

In general, the state order played an important role in the 1930s in the formation of Soviet fine art, in the preservation and development of the traditions of the national art school. Thanks to the order, during this period such well-known works of Leningrad artists were created as illustrations by A. N. Samokhvalov to the “History of a city” by M. Saltykov-Shchedrin (Grand Prix of the Paris exhibition in 1937), illustrations by V. M. Konashevich to the novel Prevost “Manon Lescot” (gold medal of the Paris exhibition of 1937), illustrations by K. I. Rudakov to the novel by G. Maupassant “Dear friend”, E. A. Kibrik to the “Col Brunion” by R. Rollan and “The Legend of Tile Uhlenshpigil” C. de Coster ^[29] , paintings by I. I. Brodsky "V. I. Lenin's speech at a workers rally Putilov factory in May 1917 ”(1929, order of the Leningrad Committee of the Union of Metalworkers, Grand Prix of the Paris Exhibition in 1937),“ V. I. Lenin in Smolny ”(1930, State Tretyakov Gallery, the highest award of the Venetian Biennale of 1934) ^[30] , a panel by A. N. Samokhvalov “ Soviet Physical Education ”for the USSR pavilion at the 1937 Paris international exhibition (grand prix of the exhibition) ^[31] and many others. “We cannot deny, ” V. A. Ushakova wrote in 2003, “ that one of the main criteria in evaluating works of art was professionalism. Paradoxical as it may seem, it was the struggle for the so-called “ideological purity” that allowed Russian (Soviet) art to preserve school. In those days, the victory of formal art against the background of a poorly educated and ideological society could lead to the destruction of professionalism and its complete loss. It was the political choice in favor of realism that made it possible to preserve the traditions of genuine Russian realism and an excellent art school, with all the negative aspects of ideological pressure . ” ^[32]

Reflecting the realities prevailing in the USSR, the Leningrad exhibitions of these years contributed to the confirmation by the means of fine art of the new look of the Soviet state and its contemporaries. The “big style” and socialist realism as a creative method were to the greatest extent possible to meet the solution of these problems. The system of art exhibitions by the beginning of the 1940s got its finished shape, from personal, traditional spring and autumn exhibitions in the LOSSH halls, thematic and group exhibitions to city exhibitions, usually held in the Russian Museum. At the highest level of this system were all-Union and anniversary exhibitions held in the 1930s in Leningrad and Moscow with the active participation of Leningrad artists.

The last major pre-war exhibitions of Leningrad were the fifth and sixth exhibitions of Leningrad artists of 1940, the seventh exhibition of Leningrad artists of 1941, an exhibition of works by women artists of Leningrad (March 1941), personal exhibitions of A. P. Ostroumova-Lebedeva (1940, State Russian Museum), A S. Vedernikova (1940, LSSH), N.I. Altman (1940, LSSH), A. Ya. Golovin (1940, LSSH), M.I. Avilova (1940, LSSH), E. S. Kruglikova (1940 , LSSH), L.F. Ovsyannikova (1941, LSSH). ^[33] According to A. G. Raskin , they refute the allegations that the work of Leningrad artists was completely subordinate to the political order and crushed by the ideological press. In many works of landscape, portraiture, sketching, purely artistic tasks were set and successfully solved. ^[34]

With the outbreak of war and the blockade, exhibition life in Leningrad froze for a while. Many artists left the Red Army or were evacuated. Those who remained in Leningrad joined in the camouflage and sheltering of objects and monuments, the construction of defensive structures, and the production of posters and combat leaflets. Museums and exhibition halls closed. But already in December 1941, preparations began for the first blockade exhibition. It opened in the frozen halls of the LSSX on January 2, 1942. The works of 84 artists were exhibited, mainly sketches, sketches, sketches, drawings created in the first months of the war and the blockade. The archives and memoirs of contemporaries have preserved the names of its participants, as an example of the courage and steadfastness of Leningraders in the most difficult days of the blockade. Among them were I. Ya. Bilibin, N. E. Bublikov, V. A. Grinberg, V. V. Isaev, A. A. Kazantsev, Y. S. Nikolaev, V. V. Pakulin, V. B. Pinchuk , V. N. Proshkin, V. A. Raevskaya, N. Kh. Rutkovsky, V. A. Serov, I. A. Serebryany, N. A. Tyrsa and others. At first, the exhibition was closed, in February it was opened for wide viewing. In March, the exhibition was replenished with new works. All works from the exhibition were acquired by the SNK of the RSFSR for subsequent transfer to the Russian Museum.

In the spring of 1942, on the initiative of the Leningrad City Committee of the All-Union Communist Party of Bolsheviks (Bolsheviks), an agreement was signed with artists to carry out work on the Patriotic War. The organization of exhibitions was entrusted to the military council of the Leningrad front and the Leningrad headquarters of the partisan movement. Traveling exhibitions were organized in hospitals, military units, front-line clubs, and in the front line, as well as the work of artists at partisan bases. Already in June 1942, at the open exhibition in the large hall of the LSSH, the exhibition of works by Leningrad artists on the themes of the Great Patriotic War, among 300 works by 42 authors, the first works performed in partisan detachments were shown. After the exhibition ended in August 1942, her work was flown to Moscow, where on October 4 at the Pushkin State Museum of Fine Arts an “Exhibition of works by Leningrad artists during the Great Patriotic War” opened. ^[35]

Later there were three exhibitions of works by artists of the Leningrad front (1943-1945, the House of the Red Army, the Academy of Arts), the exhibition "In the battles for Leningrad" (1942, the House of the Red Army), "25 years of the Red Army" (1943, the House of the Red Army), the Petersburg-Leningrad exhibition dedicated to the 240th anniversary of the founding of the city (1943, LSSH) ^[36] , the spring exhibition (1943, LSSH, 301 works by 77 artists were exhibited) ^[37] , The Exhibition of Five ( V. M. Konashevich , V.V. Pakulin , A.F. Pakhomov , K.I. Rudakov , A.A. Strekavin, 1944, State Russian Museum), exhibition of studies (1945, LSSH), personal exhibitions of S. G. Nevelshtein , L F. Ovsyannikov , V. M. Konashevich , P. I. Lugansky and others. ^[38]

The largest exhibition of the Heroic Defense of Leningrad during the years of the war opened on April 30, 1944 in Solyaniy Lane; it marked the beginning of the legendary Museum of Defense of Leningrad . The subjects and mood of the exhibitions changed. After breaking the blockade of Leningrad and defeating the Germans at Stalingrad, the themes of confidence in the superiority of the Red Army and in the approach of the inevitable victory over fascism sounded more and more confidently at exhibitions.

The significance of blockade exhibitions for contemporaries and historians goes far beyond the purely artistic aspects. Works created during the blockade are considered as artistic documents of the era. Their authors sought to contribute to the common cause of the struggle against the enemy, and considered their art as a weapon in this struggle. The protagonist of many works was the unconquered Leningrad. According to the testimony of artists who survived the blockade, semi-desert Leningrad was military strict and strikingly beautiful. The siege exhibitions already by the very fact of their existence became an expression of spiritual and moral superiority over the enemy.

The exhibitions of the first post-war years reflected not only the whole gamut of the moods and feelings of Leningraders who endured the most difficult tests of the bloodiest of wars, but also the problems and difficulties that the fine art of Leningrad faced during these years. About some artists spoke openly and in full voice, the evaluation of others became possible only after years. After complete liberation from the blockade and the end of the war, artists from the fronts returned to Leningrad and from evacuation with the desire to get involved in creative life as soon as possible. But to do this was not easy. Many lost in the war and blockade of loved ones, lost their shelter. There were not enough materials, workshops, orders, there were no funds to pay for sitters and business trips to collect field material. Many of them died in the blockade. Artists needed time to restore their creative skills lost during the war years. All this was reflected in the theme and art level of the first Leningrad post-war exhibitions.

An exhibition of the 1945 etude, and then some others, received critical assessments of part of the artistic community .. ^{[39] [40]} A number of authoritative painters and sculptors ( V.V. Isaev , V. A. Raevskaya, A. A. Strekavin) were considered premature participation in large exhibitions with raw, shallow works that belittle the level of Leningrad art. ^{[41] A} heated debate arose over the methods of implementing the theme of the feat of the people in the Great Patriotic War, as well as the heritage of the masters of the past, whose experience could be claimed for this. ^[42] These discussions testified to the sense of responsibility with which Leningrad artists approached their tasks. According to N. Stepanyan, a glance from a distance of time “reveals a completely deliberate competition between artists and masters of the classical eras - paintings of the Renaissance, paintings and engravings of empire and romantics, with their battles and depictions of state life, constantly“ mean ”. During the war years and at the exhibitions of the first post-war years, one could see how the features of the new “Grand Art” are constructed, the ceremonial style that arises before our eyes restricts the commitment to writing ”. ^[43]

The Leningrad exhibitions of 1946-1952, as well as art as a whole, experienced the consequences of the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks on the magazines Zvezda and Leningrad and Leningrad Case . Attempts to brutal administration in the field of culture and brutal repressions had a painful effect on moods in the creative environment, on exhibition and exposition policies. Art, including art, has undergone meaningless regulation. His natural path of development, requiring the enrichment of the artistic language, the search for new means of enhancing expressiveness, was forcibly interrupted. The theme of the heroic defense of Leningrad was suspicious. The Museum of Defense, filled with the works of artists, and essentially created by them, was closed. This continued until 1954, when the political intrigue against Leningrad was revealed and the innocent victims rehabilitated. ^[44]

The composition of the participants in the post-war Leningrad exhibitions was significantly updated due to the pre-war LISA graduates, as well as those who were only now able to complete studies interrupted by the war. Among them were M.K. Anikushin , N.I. Andresov , T.K. Afonina , E.V. Baykova , K.S. Belokurov, P.P. Belousov , O. B. Bogaevskaya , A. I. Vasiliev , N. L. Veselova , I. P. Veselkin , R. I. Vovkushevsky , I. I. Godlevsky , M. A. Dreyfeld, A. D. Dashkevich , Yu. M. Neprintsev , G. A. Savinov , N E. Timkov , V. V. Sokolov , S. I. Osipov , M. D. Natarevich , E. E. Moiseenko , A. A. Mylnikov , G. V. Pavlovsky , L. A. Ostrova , M. P Zheleznov , L. N. Orekhov , A. G. Eremin , E. P. Skuin , Yu. S. Podlyasky , T. V. Kopnina , N. P. Medovikov , V. K. Teterin , N. A. Muho , A. T. Pushnin , EP Antipov , AV Mozhaev , NP Stein Miller , AN Semenov , AP Korovyakov , VV Pimenov , ML Rudnitskaya , N. Tulin , N. Brandt , SA Rotnitsky and many others. Their works will determine the face of the Leningrad exhibitions of fine art of the 1950-1980s.

The structure of the exhibitions of the first post-war years was dominated by group, traveling and personal exhibitions. Among them stood out exhibitions of works by V.A. Grinberg (1946, LSSH), N.A. Tyrsa (1946, LSSH), K.S. Petrov-Vodkin (1947, LSSH), N.P. Akimov (1947, LSSH) , G. S. Vereisky (1947, LSSH), B. M. Kustodiev (1947, LSSH), A. A. Rylov (1947, LSSH), M. G. Platunov (1947, LSSH), traveling exhibitions of Leningrad artists in Kazan, Perm, Nizhny Tagil, Petrozavodsk, Riga, Tallinn, Khabarovsk, Omsk, Novosibirsk. The largest were the 1947 exhibition, which was launched in the halls of the LSSH (194 participants, 456 works of painting, sculpture, graphic arts, theatrical and decorative arts) and the exhibition, which opened on November 18, 1950 in the Russian Museum (261 participants, 783 works of painting, sculpture, graphics and theatrical decoration art). The significance of the exhibition is determined by the circle of its participants, the artistic level of the works, the scale and representativeness of the exposition, and the interest of spectators and specialists. At the 1950 exhibition, paintings by A. A. Mylnikov “On Peaceful Fields” (1950), E. E. Moiseenko “For the Power of the Soviets” (1950), V. A. Serov “Walkers by V. I. Lenin” ( 1950), R. R. Frents “Stalingrad on February 2, 1943” (1950), sculptures by M. K. Anikushin “A. S. Pushkin ”(figure to the monument , 1950), V. Ya. Bogolyubov and V.I. Ingal “ N. A. Rimsky-Korsakov ”(model of the monument , 1950), book illustrations by Yu. A. Vasnetsov , G. D. Epifanov , V. M. Konashevich , A. F. Pakhomov , K. I. Rudakov , E. I. Charushin , sketches of theatrical scenery by N.I. Altman , M.P. Bobyshov , S.M. Yunovich, a number of other significant works of recognized masters of the fine arts of Leningrad. This gave reason to I. A. Brodsky, despite some setbacks, to call the 1950 exhibition “a significant milestone in the life of the Leningrad Union of Soviet Artists” and “a significant event in the artistic life of Leningrad”. ^[45]

In the early 1950s, the ranks of participants in Leningrad exhibitions were replenished by graduates of the Academy who began their studies after the war, including front-line soldiers, for whom admission without exams was allowed. Among them were L. P. Baikov , N. N. Baskakov , D. V. Belyaev , S. A. Buzulukov , A. B. Grushko , V. F. Zagonek , A. G. Eremin , B. V. Korneev , M. A. Kozlovskaya , E. M. Kostenko , A. F. Kostin , Ya. I. Krestovsky , V. B. Larina , A. P. Levitin , P. P. Litvinsky , O. L. Lomakin , M A. Kaneev , E. V. Kozlov , M. K. Kopytseva , N. N. Galakhov , E. Ya. Vyrzhikovsky , L. V. Kabachek , E. D. Maltsev , K. G. Molteninov , A. A Nenartovich , A. I. Parkhomenko , G. A. Pesis , V. M. Petrov-Maslakov , N. M. Pozdneev , I. A. Razdrogin , V. I. Reichet , V. S. Saxon , V. I Seleznev , V. F. Tokarev , M. P. Trufanov , B. S. Ugarov , L. A. Fo kin , P.T. Fomin , V.F. Chekalov and many others.

The works of young artists have occupied a prominent place in exhibitions. So, at the largest exhibition in 1951 in the Russian Museum , the paintings “For Great Buildings. The meeting of the scientific and technical council of the Electrosila plant A. G. Gulyaev and L. A. Tkachenko , the monumental canvas “Leningrad - to the construction projects of communism. In the hydroturbine workshop of the I. Stalin factory ”of young artists N. L. Veselova , V. F. Zagonek , A. T. Pushnin , E. E. Rubin and Yu. N. Tulin , portraits of A. P. Levitin , T. V. Kopnina . The works of senior students of the Academy of Arts N. I. Andronov (Volga in the evening, 1951), N. N. Galakhova (“The Kuybyshev Hydroelectric Power Station will be here”, 1951), V. M. Sidorov (“For the Great Buildings of Communism” were exhibited for the first time. , 1951). At the same exhibition, paintings by Yu. M. Neprintsev “Rest after the Battle” (1951), P. P. Belousov “We Will Take a Different Way” (1951), O. B. Bogaevskaya “The Dove” and “Peaceful Dream” were shown for the first time. (1951), E. E. Moiseenko "On the Stalinist new buildings" (1951).

The active inclusion in the creative life of a large group of young artists, graduates of the LIZHS named after I. E. Repin, markedly raised the general level of Leningrad exhibitions of the 1950s, including traditional spring and autumn exhibitions at the LSSA. The changes affected the subjects of the exhibited works, including contractual ones. The focus was on the topics of industrial construction, the development of Siberia, virgin lands, the image of a contemporary. The lyrical landscape and household still life were more widely presented at exhibitions. The exhibitions reflected the growth of the artistic level of works, the interest of Leningrad artists in the search for means of enhancing expressiveness, and the improvement of pictorial and plastic techniques for revealing the image.

The largest exhibitions of the mid-1950s were the spring exhibitions of 1954, 1955 and 1956 in the halls of the LSSH , the exhibition of works by Leningrad artists, opened in November 1954 in the Russian Museum, the autumn exhibition of 1956 in the LSSH , which exhibited about 2000 works by 473 authors. A year earlier, at the spring exhibition of 1955, for the first time, an independent section presented the works of Leningrad masters of decorative and applied arts: porcelain, ceramics, art glass, stone-cutting and jewelry. ^{[46] [47]} In exhibitions of the mid-1950s, along with such well-known masters as A. N. Samokhvalov , N. I. Dormidontov , V. Oreshnikov , I. A. Serebryany , P. D. Buchkin , V. A. Gorb , Yu. M. Neprintsev , N. E. Timkov , G. S. Vereisky , Y. S. Nikolaev , A. F. Pakhomov , A. S. Vedernikov , V. V. Isaev , Y. I. Krestovsky , V. B. Pinchuk for the first time confidently declared itself after the post-war generation of Leningrad artists - N. N. Baskakov , N. L. Veselova , N. N. Galakhov , A. G. Eremin , V. V. F. Zagonek , M K. Kopyttseva , B. V. Korneev , A. P. Levitin , O. L. Lomakin , V. I. Ovchinnikov , S. I. Osipov , Yu. S. Podlya sky , V.I. Reichet , L.A. Rusov , I.G. Savenko , V.K. Teterin , V.F. Tokarev , M.P. Trufanov , Yu. N. Tulin , B.S. Ugarov , B.I. Shamanov and others.

In the mid 1950s preparations began for the anniversary exhibitions dedicated to the 40th anniversary of the October Socialist Revolution. Preparations for the constituent congress of the Union of Artists of the USSR, which took place in Moscow from February 28 to March 7, 1957, entered the final stage. These events, which took place shortly after the 20th Congress of the CPSU, became the pinnacle of the exhibition life of the decade, summed up the peculiar result of the development and achievements of Leningrad fine art, and outlined the tasks for the future. The participants of the exhibition, which was held from October 3 to 22, 1957 in the Russian Museum , were 600 Leningrad artists. The best of 1750 exhibited works were shown in Moscow at the All-Union Art Exhibition, which opened on November 5, and subsequently replenished the collections of the largest art museums of the USSR. Among them are the paintings “Before the Third Beep” (1957) by N. L. Veselova , “At the Construction Site of the Kuibyshev Hydroelectric Power Station” (1957) by N. N. Galakhova , “Ryabinushka” (1957) by V. F. Zagonek , “From the Holiday” (1957) ) L.V. Kabacheka , “The first rehearsal of the play by A. M. Gorky“ At the bottom ”in the Moscow Art Theater” (1957) A. A. Kazantseva , “Donbass. 1942 ”(1957) A.P. Levitin ,“ The First Cavalry Army ”(1957) E. E. Moiseenko ,“ Awakening ”(1957) A. A. Mylnikova ,“ The people stood all the way ”(1957) I. S. Nikolaev , “Portrait of E. A. Mravinsky” (1957) L. A. Rusov , “Over the Angara” (1957) Yu. S. Podlyaski , “On Onega” (1957) N. M. Pozdneeva, “University Embankment "(1957) G. A. Savinova ," Soldiers "(1957) F. V. Savostyanova ," Proclamation of Soviet Power "(1957) A. N. Samokhvalova ," Waiting for a signal. (Before the assault) ”,“ Decree on Peace ”,“ Decree on Land ”(all - 1957) by V. A. Serov ,“ Gornova ”(1955) M. P. Trufanova ,“ Lena. 1912 ”by Yu. N. Tulin , sculpture by M.K. Anikushin , N.V. Dydykin , Y. I. Krestovsky , V. B. Pinchuk , M. M. Kharlamova, graphic by A. S. Vedernikov , G. S Vereisky , V. A. Vetrogonsky, G. D. Epifanov , V. M. Zvontsov , B. M. Kalaushin, A. F. Pakhomov , A. N. Samokhvalov . ^{[48] [49]}

In the fall of 1957, preparations began for the constituent congress of the Union of Artists of the RSFSR and the first republican art exhibition "Soviet Russia", Leningrad artists took an active part in it. Under the influence of these events, which took place in 1960, the exhibition life of Leningrad underwent a noticeable restructuring. They opened a new page in the history of LOSH and Leningrad exhibitions. The last major exhibition of Leningrad artists before the formation of the Union of Artists of the RSFSR was the autumn exhibition of 1958 in the LSSH, more than 500 painters, sculptors, graphic artists, masters of theatrical, decorative and applied art presented their works.

Among them were painters N. N. Galakhov (Autumn on the Volga, 1958), A. G. Eremin (Spring in Zaonezhye, 1958), V. F. Zagonek (Kapel, 1958), M. A Kaneev (Krylova Lane, 1958), B. V. Korneev (Severe Land. Spring, 1958), E. E. Moiseenko (Portrait of a Girl, 1958), A. A. Mylnikov (Winter Landscape "1957," Portrait of a Wife "1958), L. A. Rusov (" Natasha ", 1958), G. A. Savinov (" Sazopol ", 1958), A. N. Samokhvalov (" In the Mountains ", 1958), Yu. N. Tulin (Leningrad. Lanskaya, 1958), sculptors M. K. Anikushin , L. A. Vasnetsova, B. E. Kaplyansky, N. S. Kochukov, V. G. Stamov, L. M. choline , graphics PPBelousov MP Bobyshov , A. edernikov , VM Zvontsova , AL Kaplun , Yu Neprintsev , AF Pakhomov , AI Harshak . ^{[50] [51] [52] [53]}

Since the late 1950s, exhibitions of amateur artists have been regularly held in Leningrad. Dozens of art studios worked at district and factory palaces and houses of culture and clubs. At the 1959 exhibition in LSSH , the works of amateur artists from 23 art studios of the city were presented, including the Palace of Culture named after S.M. Kirov , the Vyborg House of Culture, the House of Culture of educators, the House of Culture named after the First Five-Year Plan, the House of Culture of the Food Industry and the Palace of Culture named after A. Gorky, House of Culture named after I.I. Gaz , House of Culture of communication workers, House of medical workers, Nevsky House of Culture, House of Culture named after A. D. Tsuryupa and others. ^[54]

April 21, 1960 in Moscow opened the republican art exhibition "Soviet Russia". For the first time she represented the work of fine art masters of all regions and territories of the Russian Federation, including Moscow and Leningrad. 2400 works of painting, graphic art, sculpture, theatrical decoration and decorative art were exhibited. Leningrad was represented by the works of 280 artists. Among them are the paintings “Launching of the tanker“ Beijing ”(1960) by V. A. Bazhenov ,“ Guests ”(1960) by O. B. Bogaevskaya ,“ Who is the truth behind? ”(1959),“ Chauffeur Spring ”(1958), “Portrait of the chairman of the collective farm M. G. Dolgov” (1959) N. L. Veselova , “At the club” (1959), “Celebration in Voronovo” (1960), L. V. Kabachek , “On the roads of Karelia” (1960) N. N. Galakhova , “Morning” (1960) by V.F. Zagonek , “Mastering the North” (1960) by B.V. Korneev , “The New Owner” (1960) O. L. Lomakina , “Militias” (1960) E. E. Moiseenko , “They Started the Bratsk Hydroelectric Power Station” (1960) by Yu. S. Podlyasky , “On the Russian Woman” (1960) G. A. Savinova , “The Young Tribe” (1960) A. N. Samo Khvalova , “Portrait of F. Bezuglov, smelter of the factory“ Red Vyborzhets ”(1960) I. A. Serebryany ,“ Evening. Lilac Hour ”(1959) N. E. Timkova ,“ Miner ”(1959) M. P. Trufanova . ^{[55] The} exhibition was a great success. During her work, 400 thousand people visited her. After the exhibition ended in Moscow, several traveling exhibitions were shown from its exhibits, shown in Russian cities. Many works were purchased for museums and organizations.

June 21, 1960 in Moscow, the constituent congress of the Union of Artists of the RSFSR was opened. In the speeches of the delegates, the results of the exhibition “Soviet Russia” were examined. Fulfilling the decisions of the congress, the leadership of the Union of Artists of the RSFSR joined the Central Committee of the CPSU and the government with a proposal to hold the second republican exhibition "Soviet Russia", which should be preceded by regional (zone) exhibitions. In the spring of 1963, this initiative was supported by a joint resolution of the Bureau of the Central Committee of the CPSU for the RSFSR and the Council of Ministers of the RSFSR. Preparations have begun for the second republican exhibition, Soviet Russia, held in Moscow in 1965. All regions and territories of Russia were united into ten art territories, each of which planned its own zonal exhibition as a stage of selection of works for a republican exhibition. They allocated part of the budget of the republican exhibition.

The first zonal exhibition "Leningrad" opened on November 3, 1964 in the Russian Museum. Part of the exposition was deployed in the halls of VLOSH . The exhibition has become one of the largest and, according to A.F. Dmitrenko , “extremely effective in terms of creativity.” ^[56] 2000 works of all kinds and genres of fine art were exhibited. Among them are the paintings “Bird cherry blossoms” (1964) by V.F. Zagonek , “Rails Buzz” (1964) by L.V. Kabachek , “Earth”, “Comrades”, “Sergey Yesenin with Grandfather” (all -1964) E. E. Moiseenko , “Haymaking” (1964) S. I. Osipova , “My peers. Pochtary Severa "(1964) Yu. S. Podlyaskogo ," Home "(1964) N. M. Pozdneeva ," Sailors. 1942 ”(1964) G. A. Savinova ,“ Alexander Blok in a working picket ”(1964) A. N. Samokhvalov ,“ Portrait of D. Shostakovich ”(1964) I. A. Serebryany , sculpture by M. K. Anikushin , N.V. Dydykina , B.E. Kaplyansky, N.S. Kochukov, L.K. Lazarev , M.T. Litovchenko, V.G. Stamov, A.I. Khaustov, L.M. Kholina, G. D. Yastrebinetsky, graphic artist V. A. Waltsefer, A. S. Vedernikov , V. A. Vetrogonsky, B. N. Ermolaev, V. I. Kurdov , Yu. M. Neprintsev , A. F. Pakhomov , V. V Petrova. ^[57]

In the system of Leningrad art exhibitions of the 1960-1980s, zonal exhibitions occupied a central place. They preceded the republican exhibitions “Soviet Russia”, held, as a rule, with a frequency of 4-5 years. In turn, each zonal exhibition was preceded by annual citywide exhibitions. So, the Leningrad zonal exhibition of 1964 was preceded by exhibitions of works by Leningrad artists of 1961-1963. Personal, group, traveling and thematic exhibitions were of independent importance; they made it possible to more widely represent the work of individual artists and identify the best works for subsequent inclusion in the exposition of Leningrad zonal exhibitions. The system of contracts and purchases of works of fine art by the Ministry of Culture of the USSR, the RSFSR, the Art Fund of the RSFSR was built into this system of exhibitions. A system of guaranteed remuneration of artists, introduced since 1966, was also paired with it.

It is significant that the established practice of holding zonal Leningrad exhibitions along with annual ones, and its close relationship with orders, contracts and procurement of works, had its roots in the first half of the 19th century. Introduced at the end of the 18th century by A. I. Musin-Pushkin, the annual exhibitions at the Academy of Arts were gradually becoming a tradition. But there are also exhibitions with a three-year frequency. An article to the index of the Academic Exhibition of 1842 demonstrates the importance of such frequency even 120 years before the first zonal exhibitions: “As if only custom-made and had their own definite and paid purpose of work were at the exhibition, then this period would really be long. If an exhibition is a bazaar for which artists must demolish everything that they have worked indiscriminately - what is done for bread, what is more aesthetic for food, what is for money and what is fame, of course, in which case the three-year period is superfluous, even and a year, just don’t call this market an academic exhibition, but just a fair. ” ^[58]

The system of exhibitions of Leningrad fine art that had developed by the mid-1960s existed until the early 1990s. The largest exhibitions of this period were the zonal exhibitions “By Homeland” (1972), “Our Contemporary” (1975), the 1977 exhibition under the motto “Art belongs to the people,” the 1980 Leningrad Zonal Exhibition. Each of them reflected a certain period in the history of Leningrad fine art, which had its own tasks and problems, its leaders and achievements. Of particular importance for the approval of the concept of the fine arts of Leningrad as a separate phenomenon in the 20th century Russian art was the retrospective exhibition “The Fine Art of Leningrad” in Moscow in 1976. For the first time, the exhibition made it possible to trace so completely over more than half a century the path traveled by a team of Leningrad artists - one of the largest groups of Soviet masters of fine art. According to V. A. Gusev and V. A. Lenyashin, “its significance was determined not only by the historical aspect, but also by the ability to find answers to many urgent questions of the contemporary art process.” ^[59]

Notable events in the artistic and cultural life of Leningrad in 1960-1980 were personal and group exhibitions of artists. Among them are exhibitions of works by P. D. Buchkin (1961, 1986, LOSH), A. N. Samokhvalov (1963, LOSH, 1974, State Russian Museum), N. E. Timkova (1964, 1975, LOSH), S. G. Nevelshtein (1964, LOSH), V.A. Gorba (1967, LOSH), E.P. Antipova , V.K. Teterin (1967, 1988, LOSH), B.S. Ugarova (1972, Academy of Arts, 1982, State Russian Museum) ), V. Oreshnikova (1974, 1985, Academy of Arts), V.I. Reyhet (1974, Academy of Arts), L.V. Kabachek (1975, LOSH), E.V. Kozlova (1976, LOSH), A. S. Vedernikova (1977, LOSH), Yu. M. Neprintsev (1979, 1989, Academy of Arts), G.V. Kotyants, Yu. N. Tulin (1979, LOSH), E.P. Skuin , V.F. Tokarev (1980, LOSH), Y. I. Krestovsky , Z. P. Ar shakuni, G.P. Egoshina (1981, LOSH), E.E. Moiseenko (1982, State Russian Museum), M.D. Natarevich (1982, LOSH), P.T. Fomin (1983, State Russian Museum), S.E. Zakharova and M.A. Zubreeva (1984, LOSH), M.P. Trufanova (1985, Academy of Arts), V.V. Vatenin , V.I. Tyuleneva (1985, LOSH), B.M. Lavrenko (1986, Academy of Arts), Ya. S. Nikolaev (1986, LOSH), O. B. Bogaevskaya and A. M. Semenov (1987, LOSH), P. P. Belousov (1987, Academy of Arts), V. I. Ovchinnikova , N. N. Galakhova (1988, LOSH), V.F. Zagonek (1990, Academy of Fine Arts), S.I. Osipova (1991, LOSH), G.A.Savinov (1991, LOSH), as well as "Exhibition of Eleven "(1972, hall of the Union of Artists of the RSFSR), joint in exhibition of S. I. Osipov , A. N. Semenov and K. A. Gushchin (1977, LOSH), “Exhibition of Seven” (1980, hall of the Union of Artists of the RSFSR) and others.

In 1974 and 1975 in the Palace of Culture. I.I. Gaza and the Nevsky Palace of Culture opened exhibitions that went down in the history of the Leningrad underground as the first permitted exhibitions of informal artists, giving the ironic name "gas-bearing" to one of the phenomena of the artistic life of the 1970s and 1980s. In 1982, the “Partnership of Experimental Fine Art” (TEII) arose in Leningrad, an informal association of young artists of a mainly “left-wing” orientation. The first TEII exhibition was held in October 1982 at the S. M. Kirov Palace of Culture. The goal of the TEII founders was to declare "an association of artists to improve their work in an atmosphere of partnership and mutual support, based on democratic traditions." ^[60] The largest exhibitions of the association were held in 1984 and 1985 at the Youth Palace ^[61] and in 1987 at the harbor exhibition hall. TEII lasted until 1988.

In general, the palette of Leningrad exhibitions in the mid and second half of the 1980s becomes much richer. Along with the exhibitions of LOSH members, which brought together more than 3000 professional artists of various specialties by the end of the 1980s, in the wake of “perestroika” there were associations and groups of informal artists who were looking for an opportunity to express themselves (“Inaki”, “Mitki” , Island , “New artists ”, “ Necrorealists ” ,“ New Academy ”and others). In December 1988, the exhibition "Contemporary Art of Leningrad" opened in the central exhibition hall "Manege", for the first time uniting artists of the Leningrad Union of Artists , mainly its "left" wing, amateur artists and representatives of "unofficial art" in one exhibition, presenting a picture of the current state of the fine art of Leningrad in all its manifestations.

The creativity of Leningrad artists during this period was also widely represented at republican and all-Union exhibitions in Moscow, at thematic and specialized exhibitions (landscape, portrait, still life, graphic, theater, decorative and applied art, watercolors, etching), and at foreign exhibitions of Soviet art.

•  

  S. Osipov.
  Cornflowers. 1976

• Fine art of Leningrad
• Leningrad Union of Artists
• List of exhibitions of Leningrad artists

• The second exhibition of paintings. Catalog. Society named after A.I. Kuindzhi. Pg .: 1918.
• Traveling Exhibition of Fellowships of Traveling Art Exhibitions. Catalog. All-Russian Society for the Promotion of Artists. Pg .: 1918.
• Exhibition "Russian landscape". Catalog. December 8, 1918 - January 8, 1919 Art Bureau of N. E. Dobychina. Pg .: 1918.
• Gollerbach E. Exhibition of individualist artists. Kazan, Kazan Museum Gazette. 1921, No. 3-6. S. 141-142.
• Estimated administrative expenses and LOSSH plans for 1936 / Central State Archive of Literature and Art. SPb .: F. 78. Op. 1. D. 3.
• Verbatim report of the meeting of the LSSH Board together with the Lenizo Board and the Art Fund to discuss the work plan for 1945 and on preparations for the 1945 exhibition // Central State Archive of Literature and Art. SPb .: F. 78. Op. 1. D. 49.
• Transcript of the speech of art critic N. N. Punin at the discussion of the exhibition of studies on February 11, 1945 // Central State Archive of Literature and Art. St. Petersburg: F. 78. Op. 1. D. 58.
• Shorthand record of the re-election meeting of the section of painters LSSH March 1, 1946 // Central State Archive of literature and art. St. Petersburg: F. 78. Op. 1. D. 83.
• Verbatim record of the discussion on the discussion of the report of N. N. Punin “Impressionism and the problems of painting”. Session on May 3, 1946 // Central State Archive of Literature and Art. St. Petersburg: F. 78. Op. 1. D. 73.
• Catalog of the exhibition of paintings by artists of Petrograd in all areas for a five-year period of activity. 1918-1923. PG: Academy of Arts, 1923.
• VIII Exhibition of paintings and sculptures AHRR "Life and Life of the Peoples of the USSR". Directory with illustrations. L .: AHRR, 1926.
• Graphic art in the USSR. 1917 — X — 1927. (Collection of articles by V.V. Voinov, I.D. Galaktionov, E.F. Gollerbakh, V.K. Okhochinsky, M.I. Roslavlev, V.G. Samoilov). Exhibition in the halls of the Academy of Arts. Catalog. L .: 1927.
• Lunacharsky, A.V. Results of the exhibition of state orders for the decade of October (decision of the jury) / News of the All-Russian Central Executive Committee, 1928, February 16.
• A circle. 2nd exhibition (Russian Museum). L .: 1928.
• Catalog of the First Citywide Exhibition of Fine Arts. Painting. Picture. Graphics. Sculpture. Architecture. Porcelain. Theatrical design. L .: Leningrad regional department of the Union of Rabis, 1930.
• Artists of the RSFSR for 15 years. Catalog of the anniversary exhibition of paintings, graphics, sculptures. L .: Timing, 1932.
• Catalog of the first exhibition of Leningrad artists. L .: Timing, 1935.
• Art exhibition "XX years of the Red Army and the Navy." Catalog. M .: Voengiz, 1938.
• All-Union Art Exhibition "Industry of Socialism". Exhibition catalog. M.-L.: Art, 1939.
• The work of Leningrad artists in the days of World War II. Exhibition catalog. Will make up. N.N. Vodo and A.M. Zemtsova. Will enter. article by O. Beskin. M ..— L .: Art, 1942.
• Kornilov, P.E. Fine Art of Leningrad during the Great Patriotic War. Star, 1944, No. 5-6, pp. 93-100.
• Spring exhibition of Leningrad artists. Catalog. Composition. A.M. Zemtsova, enter. article by P. A. Gorbunov. L .: LSSH, 1944.
• Academy of Arts of the USSR. The first and second sessions. Reports, debates, decisions. M .: 1949.
• Republican art exhibition "Soviet Russia". Catalog . M .: Soviet artist, 1960.
• Brodsky, I.A. Isaac Izrailevich Brodsky. M.: Fine Arts, 1973.
• Samokhvalov, A.N. My creative path. L: Artist of the RSFSR, 1977.
• Gusev, V. A., Lenyashin, V. A. Leningrad Fine Art for Sixty Years / Fine Art of Leningrad. Exhibition of works by Leningrad artists. L .: Artist of the RSFSR, 1981.
• Matafonov, V. S. Development of Leningrad Graphics / Visual Art of Leningrad. Exhibition of works by Leningrad artists. L .: Artist of the RSFSR, 1981.
• Exhibitions of Soviet art. Directory. T. 1-5. M .: Soviet artist, 1965-1981.
• German, M. Yu. Alexander Rusakov. M., Soviet artist, 1989.
• Artists of the peoples of the USSR. Bibliographic dictionary. T. 1-4. Prince 2. St. Petersburg: 1970-1995.
• Raskin, A.G. Communication of Times. Strokes of the history of the St. Petersburg Union of Artists // Communication of Times. 1932-1997. Artists are members of the St. Petersburg Union of Artists of Russia. Exhibition catalog. St. Petersburg: 1997. S. 9-10.
• Stepanyan, N. Art of Russia of the XX century. A look from the 90s. M .: EKSMO-Press, 1999.
• Dmitrenko, A.F. Zonal (regional) and republican exhibitions in the artistic life of Russia in the 1960s-1980s / Time for Changes. Art 1960-1985 in the Soviet Union / Almanac. Vol. 140. St. Petersburg: Palace Editions, 2006.S. 31-33.
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