Art during the Second World War. Abstract: Literature and art during the Great Patriotic War

After the attack of Nazi Germany on the USSR, all cultural institutions of the Yaroslavl region reorganized their work taking into account wartime.

Watercolor by Sergei Svetlitsky "Yaroslavl. Krestyanskaya Street". 1942

War museums

Museums, which were the most important cultural and educational centers in the region, curtailed their research programs after the outbreak of the war. New expositions and exhibitions stopped being built. The reasons for this state of affairs were, first of all, that staff numbers were reduced, museums gave up their premises for military needs. The remaining employees in the first years of the war continued to engage only in lecture work.

In 1943, the Yaroslavl Regional Museum of Local Lore (now a museum-reserve) began to restore the permanent exhibition. The nature department resumed its work. It presented the works of Darwinian scientists: Michurin - on the breeding of new varieties of plants; Lysenko - about vernalization and potato cuttings, as well as the works of Derzhavin, Tsitsin, Ivanova. The exhibition presented the diversity of flora and fauna of the Yaroslavl region, minerals, sedimentary rocks, and geological sections. Mammoth bones found in the region were also exhibited.

In 1943, an exhibition on the history of Yaroslavl in the 17th century was presented in the Church of Elijah the Prophet. This was not done by chance: a historical parallel was drawn with the events of the Polish invasion. Samples of clothing, furniture, and utensils were presented, introducing the life of that era. Such events as the formation of the people's militia, as well as the applied art of the era, were also reflected.

During the war, fund work did not stop at the Yaroslavl Regional Museum. In 1944, many new exhibits were purchased: paintings from the early 19th century depicting birds and made of feathers, porcelain products from the Kuznetsov factory, released for the 100th anniversary of the War of 1812 depicting Napoleon’s entry into Moscow, photographs with views of the cities of the region at the end of the 19th century.

Art collections have been replenished with collections of paintings: drawings by Academician Nikolsky on the theme “Leningrad in the days of the siege”, works by graphic artist Yudovich on the theme “Leningrad in 1942.” and “The estate of the poet Nekrasov in Karabikha.” Many paintings with views of corners of the Yaroslavl region were received.

Many modern documents, photographs, things, letters, portraits of Yaroslavl order bearers, and trophy items were collected.

In 1945, the museum prepared the exhibition “Yaroslavl Region in the Days of the Great Patriotic War.” The exhibition featured 2,500 exhibits. Among them were samples of products from neck factories, shoemakers, artels engaged in the manufacture of knitwear, and the work of homeworkers. Portraits of leading production workers were presented. Many children's toys were exhibited. The work of Yarenergo, Yarstroy, and Glavlessnab enterprises was presented in layouts, diagrams, and maps. Samples of products were presented in the agriculture department.

Work continued to restore the activities of the museum departments. Already in the fall of 1946, the department of socialist construction, the historical department and the department of the Great Patriotic War began work. N.V. Kuznetsov, A.K. Sakulin, A.A. Romanycheva and others played a major role in restoring the work of the museum.

During the war years, other museums in the region also operated. Thus, in 1943, the Pereslavl Museum of Local Lore received 148 works of artists - students D. N. Kardovsky. Most of the paintings were dedicated to the Great Patriotic War. In the art gallery at the museum, it was decided to create a special section “Honored Artist of the Republic, Professor D. N. Kardovsky and his students.” Materials were collected about him and his activities at the Academy of Arts.

In 1944, the Pereslavl Museum again resumed the exhibition, curtailed in 1941, on the topic “Russian sewing and textiles of the 18th-20th centuries.” ", which presented samples of Russian prints, fabrics, embroidery, and paintings embroidered with silk. Military conditions dictated the appropriate topics. A new exhibition “Patriotic War of 1812” was opened in the historical department, where weapons and uniforms of soldiers and officers were presented. A collection of Russian and English caricatures on military topics, portraits of war heroes, including the Povalishins, natives of Pereslavl, was also presented.

In 1944, the Uglich Local History Museum was also replenished with new exhibits. At the exhibition dedicated to the Great Patriotic War, 12 watercolor paintings by the artist Buchkin on military themes were exhibited. Like other museums, exhibitions about the country's military past were built here. The Seven Years' War and the events associated with the capture of Berlin in 1760 were presented, in connection with which a rare exhibit was exhibited - a Prussian officer's broadsword, on the hilt of which was the monogram of Frederick II.

The events of 1812 were also presented in the museum. This exhibition was located in the Church of Demetrius on Blood, where the funeral chariot in which the body of Field Marshal M.I. Kutuzov was transported to St. Petersburg, and the original banner of one of the Russian infantry regiments was displayed. A portrait of Kutuzov’s wife was also exhibited here, as well as a mantel clock that belonged to him.

The attention of the authorities to historical and cultural monuments did not wane during the war years. The Commission for the Registration and Protection of Art Monuments continued to work.

A survey of the cities of Yaroslavl, Tutaev, and Rostov the Great, carried out by the Commission in the spring of 1943, showed that many monuments here were in a threatening condition and required urgent restoration work.

Libraries

The forms of work of libraries did not change even in wartime; their activities were regulated by the order of the People's Commissariat for Education “On the work of public libraries in wartime.” Library workers held lectures and conversations, introduced the population to the situation at the fronts, and organized patriotic exhibitions.

The regional library formed mobile libraries for hospitals and even for prisoner of war camps located in the vicinity of the city. In 1942, a collection of books was carried out for the areas of the Kalinin region, liberated from the Germans. Interest in literature on defense topics has increased noticeably. The library replenished its holdings by 2,500 copies with just such books.

Interest in such books as “War and Peace” by L. Tolstoy, military notes of Denis Davydov, “Napoleon” by E. Tarle, “Chapaev” and “Mutiny” by D. Furmanov has increased. The library organized special exhibitions on the theme of the Great Patriotic War, where there were sections dedicated to the heroic past of the Russian people, Russian commanders, and modern military events. In 1942, for example, 18 patriotic conversations were held with readers at such an exhibition.

The library helped readers who studied military affairs. A corner dedicated to air defense was created. In addition to books, there were also models on display that provided information about the structure of a grenade and a fire extinguisher. Samples of explosives were shown. Posters told about the behavior of the population during air raids.

Employees of the reading room of the regional library gave lectures on the international situation and events on the fronts of the Great Patriotic War. By the spring of 1942, more than two thousand people had attended such lectures.

Library workers in the Yaroslavl region, with the help of Komsomol organizations, collected books from the local population for military units, hospitals, and sanitary trains. In 1942, activists of the Yaroslavl libraries named after. Krylova, them. Chekhov, libraries of the Zavolzhsky district. Over 6 thousand books were transferred from Rybinsk. Mobile libraries for military units were formed from these books.

Club work

Workers' and rural clubs, cultural centers, and reading rooms also carried out great cultural and educational work, aimed primarily at the patriotic education of the region's population. This work was carried out by both professional workers and volunteer Komsomol assistants, students, and local intelligentsia.

In 1942, a collective farm defense-anti-fascist film festival was held in the regions of the region, the program of which included feature films, newsreels and films on scientific and defense topics. Viewers saw films about the great commanders A. Nevsky, A. Suvorov, Minin and Pozharsky, as well as about the heroes of the civil war. The anti-fascist film “The Oppenheim Family” was shown.

Among the educational films on defense, “Fighting Enemy Tanks”, “Hand-to-Hand Combat”, “Fighter Skier”, etc. were shown. Military newsreels and combat film collections were shown in the chronicles. The audience saw the ceremonial meeting of the Moscow Soviet on November 6 and the parade on Red Square on November 7, 1941.

In 1943, a film festival dedicated to Constitution Day was held in the Yaroslavl region. It was headed by G. Grishin, head of the department of film production of the Yaroslavl region. Before the start of film shows, party and Komsomol workers gave reports and conversations. Most of the films presented were on military themes.

Much attention in the clubs was paid to lecture work. Thus, the intelligentsia of the Bolsheselsky district gave about 150 lectures and reports on defense topics in just three months of 1941. Defense clubs, drama and choral groups were created at 19 reading rooms in the region.

During 1944, rural reading rooms and clubs held 19,300 lectures and 21,148 conversations on agricultural, political, and cultural topics. In addition, amateur artistic groups that organized mass cultural work played an important role in their work. First of all, we are talking about performances in military units, hospitals, as well as at enterprises and collective farms.

Quite regularly during the war, amateur art shows were held. In Yaroslavl, such shows were held in 1942 and 1943. Teams from the plant took part in the latter. Red Perekop“, where the song and dance ensemble, created in 1941, was very popular, as well as the clubs “Giant”, “Severokhod”, and the locomotive repair plant. These were the most professionally strong teams. The concert teams of these clubs gave from 200 to 500 concerts in the first months of the war alone.

Similar reviews took place in rural areas. Amateur activities developed especially actively in the Myshkinsky district. Here in 1944, several dozen creative groups took part in the show. The best were presented at the regional Olympiad. The Myshkin House of Culture initiated socialist competition between houses of culture. The People's Commissariat of Education of the RSFSR approved and supported this initiative.

Houses of culture competed in several areas: the best production of cultural and educational work, organization of lecture groups, meetings with front-line soldiers, discussion of films, visual propaganda, exhibitions, etc.

Komsomol members actively participated in establishing cultural and educational work. In the Rybinsk region in 1943, Komsomol members created more than a hundred creative circles at clubs, reading huts and red corners. Particular attention was paid to military training.

Similar work was carried out by the team of the House of the Red Army in Yaroslavl. Primarily, the house served military units through tours of concert teams. A methodological office for amateur performances was created at the House of the Red Army, in which professional theater actors, composers, and other artists worked as consultants.

Literary life

During the war, most writers found themselves at the front. They continued their activities in front-line newspapers or became political workers.

Despite the difficulties of wartime, in 1942 the Yaroslavl House of the Red Army and the House of Folk Art prepared for publication a collection of songs about the heroes of the Great Patriotic War. The collection was compiled by Yaroslavl poets and composers. It included 17 songs with words and notes. Thus, the Red Army soldier M. Zharov wrote the song “Sailors Go to Battle,” the music for which was written by A. Nuzhin. The collection also included a song about the Yaroslavl hero-pilot M. Zhukov, “Yaroslavl Militia.” It was planned to release 10 thousand leaflets with song lyrics and notes.

Many Yaroslavl writers joined the active army, among them V. A. Smirnov, M. S. Lisyansky, A. A. Kuznetsov, A. M. Flyagin and others. Many became war correspondents. Thus, A. Kuznetsov was a correspondent for the newspaper Izvestia. The editor of the newspaper of the 243rd division, “Into the Battle for the Motherland,” was V. Smirnov. Then this newspaper was edited by M. Lisyansky, who wrote many poems at the front and published them in two collections. The editor of the front-line newspaper was P. Losev. A. Kuzmin, who wrote a book of poems “A Word about Courage” at the front, worked as a correspondent for the newspaper of the 234th Infantry Division “For the Fatherland.”

Sometimes front-line poets came to Yaroslavl for a short time. In July 1944, A. Zharov and S. Vasiliev performed at a literary evening held at the Theater. Volkova. They shared their impressions of front-line life with listeners and read their works. Then they performed at city enterprises, met with party and Komsomol activists, writers and journalists.

Yaroslavl writers A. Kuznetsov, A. Flyagin, V. Shuldeshov did not return from the front.

Theater during the war

During the war years, the Yaroslavl Volkov Theater did not remain aloof from new challenges. Many actors went to the front. Directors S. M. Orshansky, D. M. Mansky, actors V.K. Mosyagin, S. P. Avericheva, V. P. Mitrofanov, V. E. Sokolov and others.

The theater began to prepare front-line concert brigades. The first trip to the front took place in 1942. Yaroslavl residents gave 40 performances in military units, for which the brigade was awarded the Guards Badge. In the next two years, three more trips to the front took place.

Similar work was underway in Yaroslavl itself. The artists gave concerts and performances, participated in raising funds for the construction of the “Soviet Artist” squadron and a special aircraft “Volkov Theater”.

In addition to the Volkovsky Theater, other groups also went to the front: the Rybinsk Drama Theater, the Yaroslavl Mobile Theater, the Rostov Drama Theater. Together they gave about 4 thousand performances and concerts during the war years. The Rostov theater traveled to areas liberated from the Germans and was transferred with all its personnel and property to the city of Yelets, liberated from the Germans.

During the war years, such patriotic plays as “Front” by A. Korneychuk, “Invasion” by L. Leonov, “Russian People” by K. Simonov were staged on the stage of the Volkovsky Theater. The director played a special role in their production I. A. Rostovtsev. In addition to these plays, the repertoire of the war years included the performances “Field Marshal Kutuzov”, “Commander Suvorov”, “General Brusilov”. The latter was first shown on the theater stage.

In 1944, studios were created at many theaters. Such a studio also appeared at the Volkovsky Theater. She became a source of young actors for various theater groups. It taught Russian and foreign literature, theater history, French, and a number of professional subjects: plastic arts, fencing, etc. Anyone with at least a 7th grade education could enroll in the studio.

The studio also began to serve schoolchildren. The first performance was the production of “The Crystal Slipper” based on the fairy tale “Cinderella”. It was a musical performance, for which composer B. M. Nazimov, artist A. G. Novikov, and choreographer O. G. Sudarkin were involved.

In addition to trips to the front, active theatrical work also took place within the region. Thus, the Rostov City Theater staged 52 performances in 1942 alone. These were plays by Ostrovsky, Gorky, Gerasimov. The theater traveled to Borisoglebsky, Gavrilov-Yamsky, Petrovsky and Rostovsky districts, where 40 productions were shown. These performances were watched by about 35 thousand spectators.

Despite wartime, the cities of the region exchanged theater groups. In 1942, the Rybinsk Theater came to Yaroslavl. He showed the musical comedy “Mutual Love”. A response to the military events was the appearance on the theater poster of Lipskerov’s play “Nadezhda Durova” and the play “The Day Will Come” - about the German occupation of France. The premiere of the play “The Jester Balakirev” based on the play by A. Mariengof took place in Yaroslavl.

The Yaroslavl Regional Collective and State Farm Theater also visited the region's districts several times. His repertoire included productions of one-act plays on defense and anti-fascist themes. In 1942 alone, the team visited 200 collective farms, state farms, MTS and orphanages. He gave more than 300 performances, which were watched by over 100 thousand spectators. During the trips, combat leaflets were issued, conversations were held, and assistance was provided to amateur art groups.

During the war years, the Yaroslavl Puppet Theater presented 1,638 performances - they played in hospitals, factory workshops, schools and orphanages. 13 new productions were carried out.

Amateur theater groups also took part in theatrical life. Thus, the productions of the theater group of the Davydkovsky House of Culture in the Yaroslavl region were very popular among viewers. In addition to the club, they showed performances in neighboring village councils. In 1942, for example, the team donated money from its productions to the construction of a tank column.

The drama group of the Myshkin House of Culture gave about 50 performances in 1942. His repertoire included plays by Simonov and Korneychuk, reflecting military-patriotic themes. From their ranks, they formed propaganda teams that spoke to agricultural workers during field work.

Music life

Musical groups from the region were also active. The Yaroslavl Philharmonic played a leading position in this area of culture. She formed several concert brigades for performances in the active army. In addition, military trains and hospitals were served by musicians. The Philharmonic helped many amateur musical groups.

Many concerts were given in the region. In 1942 The Philharmonic concert brigade traveled along the route of the Northern Railway. The artists performed at the stations of Berendeevo, Beklemishevo, Petrovsk, Kosmynino and others. She gave a number of concerts in the villages of peat miners and lumberjacks.

In 1944, the Philharmonic ensemble under the direction of Ya. S. Rostovtsev, traveling by rail, gave concerts in the territories liberated from the Nazis. Concerts took place in Bryansk, Orel, Kaluga and other cities. In addition, they gave more than 70 concerts for railway workers of the Moscow-Kyiv railway and the Czechoslovak military brigade located on the territory of the USSR.

During the war, a music lecture hall was opened at the Philharmonic, which was visited mainly by residents of the rubber plant areas, the Krasny Pereval and Krasny Perekop factories. Listeners came from some rural areas. Then it was transformed into a university of musical culture.

At the beginning of 1945, the All-Union Review of Amateur Choirs and Vocalists was announced. Yaroslavl groups were also actively preparing for it. New choirs and vocal groups were created in factories and factories. The song and dance ensemble of the Krasny Perekop factory, the folk choir of the automobile plant, the Tutaevsk Tulma factory, and the Gavrilov-Yamsky choir of veterans of the Zarya Socialisma factory were especially active in preparing for the show.

A noticeable role in the musical life of the region was played by groups evacuated from the occupied territories. For example, in 1942, Estonian musical groups carried out extensive concert work. These were a song and dance ensemble, a jazz orchestra, a symphony orchestra, working in hospitals and military units.

Since November 1942, artistic musical ensembles of Lithuania have been working in Pereslavl: a symphony orchestra, a jazz orchestra, a dance group, and a choir. These groups performed with special programs not only in Pereslavl, but also in other cities in the region.

The Belarusian song and dance ensemble, created in Bialystok from amateur art circles, was located in Danilov. His repertoire included Belarusian songs, songs of the peoples of the USSR, songs about the Great Patriotic War. In January 1944, the group gave a big concert dedicated to the 25th anniversary of the Belarusian SSR.

Artistic life

During the war years, many artists went to the front. In the active army were A. A. Shkoropad and N. I. Kirsanov. P. S. Oparin and I. A. Zhukov died at the front.

But at the same time, art exhibitions were regularly held in the region, the purpose of which was to show military events and the heroism of Soviet soldiers at the fronts and in partisan detachments.

In 1942, on the occasion of the 25th anniversary of the October Revolution, an exhibition of paintings by Yaroslavl artists dedicated to the Great Patriotic War was opened in Yaro-Slavl. Works by artists Grishin “Under Direct Fire”, “They Came” were presented; Druzhinin “The defeat of the German convoy by the partisans”; Shindykov “Partisans in Ambush”; Efremov "From the battlefield." Kostroma, Leningrad, and Estonian artists participated in the exhibition. The works of the Leningrad graphic artists Yudovich and Khiger, the watercolorist Svetlitsky, and the sculptors Kozlovsky and Voinova stood out at the exhibition.

In 1943, the Yaroslavl branch of the Union of Artists opened an exhibition dedicated to the Great Patriotic War. Artists from different cities also took part in it. Leningrad graphic artist Yudovich presented at the exhibition a series of engravings on the theme “Leningrad in the days of the siege.” Kostroma artist Shlein - a series of landscapes of the city during the war and portraits of heroes. (Until 1944, the territory of the current Kostroma region was part of the Yaroslavl region.) The artist Druzhinin, a direct participant in the war, also took part in the exhibition with the painting “To the Front Line.”

Yaroslavl artist Shindykov presented his works in 1944 at an exhibition in the Tretyakov Gallery. For the painting “Behind Enemy Lines” he was awarded a Certificate of Honor from the Komsomol Central Committee.

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During the war, many exhibitions were organized, including two all-Union ones (“The Great Patriotic War” and “Heroic Front and Rear”) and 12 republican ones. In Leningrad, surrounded by the siege, artists published a magazine of lithographic prints, “Combat Pencil,” and, together with all Leningraders, showed the whole world unparalleled courage and fortitude.

As during the years of the revolution, the first place in the schedule of the war years was occupied by the poster. Two stages in its development can be traced. In the first two years of the war, the poster had a dramatic, even tragic sound. Already on June 22, the Kukryniksy poster “We will ruthlessly defeat and destroy the enemy!” appeared. He brought down popular hatred on the invading enemy, demanded retribution, and called for the defense of the Motherland. The main idea was to repel the enemy, and it was expressed in harsh, laconic visual language, regardless of creative individuals.

Domestic traditions were widely used. So, “The Motherland is calling!” I. Toidze (1941) with an allegorical female figure against a background of bayonets, holding in her hands the text of the military oath.

The poster became like an oath of every fighter. Artists often resorted to images of our heroic ancestors.

At the second stage, after a turning point in the course of the war, both the image of the poster and the mood change to optimistic and even humorous. B.C. Ivanov depicts a soldier against the background of the crossing of the Dnieper, drinking water from a helmet: “We are drinking the water of our native Dnieper. We will drink from the Prut, Neman and Bug!” (1943).

During the war years, significant works of easel graphics appeared. These are quick, documentary-accurate front-line sketches, different in technique, style and artistic level. These are portrait drawings of fighters, partisans, sailors, nurses, commanders - a rich chronicle of the war, later partially translated into engravings. These include war landscapes, among which images of besieged Leningrad occupy a special place. This is how the graphic series by D. Shmarinov “We will not forget, we will not forgive!” (charcoal, black watercolor, 1942), which arose from sketches that he made in newly liberated cities and villages, but was finally completed after the war: fires, ashes, crying over the bodies of murdered mothers and widows - everything fused into a tragic artistic image.

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

Painting during the war years also had its stages. At the beginning of the war, it was mainly a recording of what was seen, not intended to be generalized, almost a hasty “picturesque sketch”. Artists wrote based on living impressions, and there was no shortage of them. It was not always possible to achieve what was planned; the paintings lacked depth in revealing the theme and the power of generalization. But there was always great sincerity, passion, admiration for people who steadfastly withstand inhuman tests, directness and honesty of artistic vision, a desire to be extremely conscientious and accurate.

During the Great Patriotic War, many young artists came forward; they themselves took part in the battles near Moscow, the great battle for Stalingrad, they crossed the Vistula and Elbe and took Berlin by storm.

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

In 1941-1945. Both domestic and landscape genres are developing, but they are always somehow connected with the war. An outstanding place in the formation of both during the war years belongs to A. Plastov. Both genres seem to be combined in his film “The Fascist Flew Over” (1942).

Exhibitions of landscape painters during the war speak of their understanding of the landscape in a new image, belonging to the harsh wartime. Thus, these years also preserved almost documentary landscapes, which over time became a historical genre, like “Parade on Red Square on November 7, 1941” by K.F. Yuon (1942), which captured that memorable day for all Soviet people, when fighters went straight into battle from a snow-covered square - and almost all died.

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

Through the ordinary, and not the exceptional, he depicts the everyday feat of the people in this most bloody of all wars that have happened on earth.

In the last years of the war, the Kukryniksy created one of their best paintings, turning to the image of antiquity - Sophia of Novgorod as a symbol of the invincibility of the Russian land (“Flight of the Nazis from Novgorod”, 1944-1946). The artistic shortcomings of this picture are made up for by its sincerity and genuine drama.

Towards the end of the war, changes are outlined, the paintings become more complex, gravitating toward multi-figures, so to speak, “developed dramaturgy.”

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

Literature. Domestic culture and artists made a significant contribution to the victory over fascism. Soviet literature during the Great Patriotic War had an openly propaganda character, giving, in the words of Vs. Vishnevsky, “A monstrous charge of hatred towards the enemy.” A. Tolstoy called Soviet literature during the war days “the Voice of the heroic soul of the people.” These two characteristics express the essence and role of our wartime literature. Poetry from the first days of the war played a special role. She was the first to respond to the tragic events and, turning to the moral experience of our people, spoke about the experiences of a person who found himself face to face with death, understanding his duty to the Motherland and selflessly serving it. The lyrics of the war years conveyed the appearance of the time, the spiritual world of the fighting people in songs of an epic nature.

"Son" by P. Antokolsky, "Zoya" by M. Aliger, "Vasily Terkin" by A. Tvardovsky.

A. Tvardovsky created the image of a Soviet soldier of the Great Patriotic War. He was recognizable and close to every fighter. He was simple, benevolent, sympathetic, faithful to friendship, selfless in the service of duty. This image seems to concentrate the qualities of a defender of the homeland characteristic of Russian literature. Vasily Terkin is akin to the Russian soldiers from Lermontov's Borodino and those who fought on the Borodino field in L. Tolstoy's War and Peace.

Soviet literature of the war years developed the humanistic traditions of previous centuries, and it was real humanism, full of the will to life and the readiness to defend it. It is not surprising that the winged words are from the poem "Vasily Terkin".

The battle is holy and right,

Mortal combat is not for glory,

For the sake of life on earth.

A special place among the works of the initial period of the war is occupied by M. Sholokhov’s “Science of Hatred”. This story tells how the feeling of love for the Motherland matured and strengthened in the Soviet people, how hatred and contempt for the enemy matured. In this story, one of the most important problems of that time was raised: how hatred of the enemy is born in the kind soul of the people, how a peaceful citizen becomes a skilled warrior, a defender of the Russian land. This sacred feeling of hatred for the enemy was also awakened by poetry, describing the brutality of fascism “Kill him!” K. Simonova.

Literature not only showed the monstrous face of fascism, but also called for the fight against fascism. In the works of A. Tolstoy “Stories of Ivan Sudarev”, N. Tikhonov “Characters of a Soviet Man”, V. Vasilevskaya’s story “Rainbow” and L. Leonov’s play “Invasion” there was not only a call to fight, but also a story about the courage of the Soviet man. The ability to attract people to a feat is shown in the stories of L. Sobolev “Sea Soul”, V. Grosman “The People are Immortal”, K. Simonov “Days and Nights”, etc.

In 1943, several chapters from M. Sholokhov’s novel “They Fought for the Motherland” appeared in the Pravda newspaper and the front-line press. The writer conveyed the innermost quality of the Russian character. V.M. Nemirovich-Danchenko said this about this work: “This is heroism, mixed with the strongest humor, which does not leave the Russian person, almost three seconds before death. The fusion of this is the genius of the nation.” At the center of the novel are the fates of ordinary soldiers who bore on their shoulders all the hardships of the war. The optimism expressed in the characters of Lopakhin, Poprishchenko, Zvyagintsev is akin to the love of life of Vasily Terkin, a beloved folk hero. However, M. Sholokhov did not downplay the difficulties of the initial stage of the war. With stern sincerity, the book tells about the fate of the people, revealing the “hidden warmth of patriotism” of their soul.

The war deepened feelings for the Motherland. She expanded the very concept of the Motherland and gave a new meaning to “the feeling of a united family.” It is traditional for Russian literature to reflect the unity of the entire people in the face of danger. Wartime literature saw its recognition in capturing the unity of peoples in times of severe trials. A striking example of this is A. Bekka’s “Volokolamsk Highway,” the first two stories of which were published during the war. This work is a kind of diary of the battle near Moscow. The author shows how and why Russians, Kazakhs, and Ukrainians defended Moscow together. The main characters of the story, Kazakh Mamysh-Uly, explained this way: “Our children run to school together, our fathers live side by side, sharing the deprivation and grief of a difficult time. That’s why I’m fighting near Moscow, on this land where my father, my grandfather and great-grandfather."

Gradually, the propaganda focus faded away, and a realistic approach, sometimes with elements of romance, became more and more prominent. B. Gorbaty's story "The Unconquered" is one of the first attempts to show how during the war a person's attitude to what was happening changed, how his consciousness and activity grew, and his understanding of his place in life deepened.

At the same time, the characters of the heroes were no longer revealed in something exceptional, but in the everyday, for the everyday in war became exceptional, and the exceptional - everyday. In K. Simonov's story "Days and Nights" the author pursues the idea that in war people got used to the worst things, to the fact that the people talking to him just now ceased to exist in a moment. In a person’s ability to get used to and endure the terrible, the possibility of heroism has also been preserved. The pinnacle of realism in wartime literature was V. Nekrasov’s story “In the Windows of Stalingrad,” which not only shows “the ordinary heroism of our soldiers, but also their ability to preserve the human element within themselves.”

The literature sounded romantic, permeated with an atmosphere of moral frequency. E. Kazakevich's story "The Star" convinces us that victory in this holy war was achieved with clean hands. Lieutenant Travkin, yesterday's schoolboy, became an experienced warrior, brave, persistent, and resourceful. The hero is not just honest - he “didn’t hate the truth”, he’s not just fair, but he is distinguished by “absolute selflessness.” Not just faithful to military duty, but selflessly devoted to the cause, not just brave, but “did not know what panic was.” E. Kazakevich's story is tragic, but just as in ancient Russian stories, dying troops gain eternal life, the heroes of the story "Star" do not die, but seem to dissolve, gaining immortality. Let us note that in harsh days the writers were together with their people, with their troops on the front line. At the front were A. Surkov, E. Petrov, A. Bek, M. Sholokhov, A. Fadeev, N. Tikhonov, V. Zakrutkin, M. Jalil, A. Gaidar. 10 writers were awarded the title of Hero of the Soviet Union.

Theater. In the harsh conditions of wartime, theatrical art not only did not lose its power, but on the contrary, it acquired a special civic meaning. Theater, more than ever before, is becoming necessary for all people, but, perhaps, especially for soldiers at the front. The following figures give an idea of the scale of service to the front: during the war, 3,685 artistic brigades, in which 42 thousand creative workers participated, visited military units. They gave 473 thousand performances and concerts.

Special front-line theaters were also organized, which had in their repertoire not only concert programs, but also entire performances. Many of the country's leading theaters - the Maly Theater, the E. Vakhtangov Theater, the Bolshoi Drama Theater named after Gorky - formed their own front-line finals, which went through the battle path together with their fighters. Many theaters in cities and regions temporarily occupied by the Nazis - Smolensk, Orel, Kalinin - also became front-line theaters. By the end of 1944, there were 25 front-line theaters in the active army.

In liberated Leningrad, the theater of musical comedy and the theater of the Red Banner Baltic Fleet continued to operate. In October 1942, the City Theater appeared. From the theater of the people's militia, organized in July 1942 by N. Cherkasov, the Agitation Platoon of the Leningrad Front was formed. During the most terrible winter of the siege of 1941-42, there were no performances in Leningrad theaters, but performances were given at enterprises, in military units and at the front. Taking into account the created conditions, the Theater of the Red Banner Baltic Fleet was divided into “fives” and actors in camouflage robes, under fire, reached the combat units and gave concerts there.

Among the dramatic works that appeared in the first days of the war, A. Afinogenov’s play “On the Eve” appeared, which told how the war invaded the peaceful life of the Soviet people. Despite the tragedy of the events that took place, the play was imbued with faith in victory.

In mid-1942, the most remarkable wartime plays appeared. In July 1942, L. Leonov read his play “Invasion” in Moscow. This is a philosophical, psychological drama. The main theme is the heroic resistance of the Russian people to the fascist invasion. The central character of the play is Fyodor Talanov. This is a man with a “difficult” past who returned from prison. He is angry with people, deeply offended by the injustice done to him. But the idea of the play is that at the moment of severe trials it is not the time to remember previous grievances.

At the same time, K. Simonov's play "Russian People" appeared. Love for one's land, a sense of patriotism is refracted in the character of each hero of the play in his own way. The battalion commander Safonov is first and foremost a soldier. His principle: “Stop Safonov, and not a step back! Die, but stop! Take ten wounds, and stop!” For the young intelligence officer Valya, the concept of Motherland is associated, first of all, with her native places. “In Novo-Nikolaevka we have a hut on the edge of the village and near a river and two birch trees. I hung a swing on them. They tell me about my homeland, but I remember all these two birch trees.” K. Simonov's heroes pay a high price for their beliefs, but do not betray them. Within one year, performances of “Russian People” were staged in 150 theaters across the country.

A remarkable event on the theater stages was the performance based on A. Korneychuk’s play “Front”. The play tells the story of how the hero of the civil war, a distinguished front commander in the past, Ivan Gorlov, became hopelessly behind the times. Surrounded by flatterers and sycophants, he believed in his infallibility. By denouncing Ivan Gorlov, the author shows people who are not only courageous, but also know how to wage war in a new way.

During the war years in besieged Leningrad, A. Kron wrote a play about submariners, “Fleet Officer,” which was staged by the Red Banner Baltic Fleet Theater and the Moscow Art Theater.

We focused only on some topics, named only some theaters that fought on the fields of the Great Patriotic War.

Art. True to their professional and moral duty, more than 900 artists went to the front. They were witnesses and participants in the ongoing events of the Great Patriotic War. The artists made sketches in their travel albums. The numerous sketches they created represent invaluable artistic and documentary material.

The first to respond to the events of the war were artists Kukryniksy with the poster “We will ruthlessly defeat and destroy the enemy.” Soon I. Taidze will create his own poster “The Motherland Calls”. This poster became a kind of symbol of the Great Patriotic War.

During the war years, thousands of posters, leaflets, and postcards were created. And to this day the posters “Warrior of the Red Army, save” by V. Karetsky, “We are drinking the water of our native Dnieper. We will drink from the Prut, Neman and Bug” by V. Ivanov, “Let’s get to Berlin” by L. Golovanov live in our minds.

There were also satirical posters. Often, the heroic was combined in them with the satirical, intertwining into a single whole. This was especially evident in the “TASS Windows” posters, which, in essence, revived the famous “Growth Satire Windows”. The posters were extremely popular not only here, but also in other countries of the world: in the USA, England, Turkey, China, Iran, Sweden.

Along with documentary and reportage sketches, picturesque paintings were created that depicted the grief and suffering of the people, their heroism, courage, the courage of the soldiers, and the unbending faith in victory. One of these paintings was the work of A. Plastov “The Fascist Has Arrived”. In it, the artist’s protest against cruel, senseless murder merges with pain for the desecrated land. The expression of this pain is the image of a murdered shepherd boy against the backdrop of the sad beauty of his native nature.

Quite a few paintings were created depicting traces of the barbaric bombing of peaceful cities and villages, murders, executions, and abuses committed by the Nazis on people. These are the paintings "For what?" Y. Nikolaeva, “Execution” by V. Serov, “Into Slavery” by G. Ryazhsky, “Slave Owners” by T. Gapenko. Turning to the people's life during the war years, S. Gerasimov in the film "Mother of the Partisan" showed the people's resistance to the enemy, the moral superiority of the Soviet people, who retained fortitude and dignity in the face of death. The painting shows two figures in close-up: a simple Russian woman, whose son will be shot in a few seconds, and opposite her is an SS executioner. The artist contrasted the proud image of his mother standing on her native land with the image of a fascist doomed to death. The artists showed not only the suffering and misfortune of the people, but also the strength of military resistance to the enemy. K. Yuon’s painting “Parade on Red Square on November 7, 1941” captured with documentary accuracy a memorable day for our people, when soldiers went to the front straight from the square.

A big event of that time was A. Daineka’s painting “The Defense of Sevastopol”. The author showed not only the open battle of the sailors with the enemy, but also the spirit of the sailors, their heroism.

A huge contribution to the formation of moral spirit and hatred of the enemy was played by the masters of the Studio of Military Artists named after M. B. Grekov: I. Evstigneev, K. Finogenov, P. Krivonogov.

During the war years, the historical genre developed. In the midst of the war, P. Korin creates a picture

A continuation of the historical theme was A. Bubnov’s painting “Morning on the Kulikovo Field”. It shows a disturbing moment of the battle. Dmitry Donskoy is shown against the background of an unfurled battle flag with the image of Christ. The artist thereby shows not only the fair nature of the struggle of the Russian people, but also the uncompromising nature.

The portrait genre occupied a prominent place in the fine arts. The artists created a portrait gallery of images of military leaders, officers, privates, and partisans who fought behind enemy lines. We can’t count them all, let’s just name a few “Portrait of Marshal of the Soviet Union G.K Zhukov” N. Krona, “Hero of the Soviet Union Guard Major General Panfilov”. V. Yakovleva. Pershudtsev captured the legendary participants in the storming of the Reichstag - sergeants M.A. Egorov and M. Kantaria.

Music. The beginning of the Great Patriotic War mobilized the entire public to fight fascism. A large detachment went to the front. Many composers and professional musicians participated in propaganda brigades in the active army.

The creative activity of composers acquired a specific and clear focus: “Everything for victory!” On the first day of the war, V. Surkov’s “Song of the Brave” was created, and on the fourth day of the war, the following sounded over the whole world:

Get up, huge country,

Stand up for mortal combat

With fascist dark power

With the damned horde!

This song by A.V. Alexandrov to the words of V.I. Lebedev - Kumach became the anthem of the people who stood up to defend the Fatherland. This song was in the ranks of the warriors, of all our people. Its role cannot be overestimated today.

During the war, lyrical songs acquire mass significance, becoming the spiritual support of soldiers, a musical connection with the Motherland for which they are fighting. "Oh, my fogs, they are foggy." V. Zakharova, "Goodbye, cities and huts." V. Solovyova - Sedova, "Vasya - Cornflower". A. Novikova, "The Treasured Stone". B. Mokrousova. ""In the dugout"" K. Listov, ""Dark Night"". N. Bogoslovsky and others.

A significant contribution to the formation of the patriotic spirit is brass orchestra music. Marches were created as a direct response to an ongoing event. The marches were also dedicated to the exploits of individual commanders: “Captain Gostello” by N. Ivanov-Rodkevich, “Rokossovsky” by S. Chernetsky, and created a generalized artistic image of the people’s struggle against the invaders. "Glory to the Guardsmen" by N. Chemberidzhi, "People's Avengers" by N. Ivanov - Radkevich and others.

D. Shostakovich's "Seventh Symphony" became a perfect triumph - an artistic and historical discovery. It was written in besieged Leningrad. The symphony became a powerful weapon in the fight against the enemy. “I dedicate my Seventh Symphony to our fight against fascism, our coming victory,” to my hometown Leningrad,” the author wrote on the pages of Pravda on March 29, 1942. After these words, the symphony received another name, “Leningrad.”

Its premiere took place on March 5, 1942 in Kuibyshev, and on August 9 it was performed in besieged Leningrad. The success of the symphony was enormous. Within a short time it was heard in many countries around the world. The world's leading conductors fought for the right to perform it. In the United States alone, it was performed 62 times during the 1942-43 season. Concerts turned into rallies in support of warring Russia. American writer M. Gold wrote: “Shostakovich may be the greatest composer of our time.” The appeal to the heroic-patriotic theme was also noted in the symphonic works of other composers. The most significant works are: “Second Symphony” by A. Khachaturian, “With a Bell” and “Fifth Symphony” by S. Prokofiev. But the most significant event in his work was the opera “War and Peace”, written based on the novel by L. Tolstoy. The theme of Russia's military history has become the basis in musical theater. “Suvorov” by S. Vasilenko, “Dmitry Donskoy” by V. Kryukov, “Emelyan Pugachev” by M. Koval, and A. Khachaturyan’s ballet “Gayane” appeared.

It should be noted the opera by D. Kobalevsky "Near Moscow" ("On Fire"). With great force, expressing the horrors of the enemy invasion, grief and suffering of the people. It is not possible to enumerate all the themes of the genre of musical culture of the Great Patriotic War, and only a small part of the named works indicates that the entire musical community considered themselves wars, whose weapon was music.

Film art. Film workers considered themselves mobilized and called to the front. The main content, the main task becomes the spiritual mobilization of the people aimed at fighting the enemy. The first to respond to the events of the first days of the war were documentarians. Cameramen took part in all operations, filming from airplanes, tanks, and on the decks of warships. Many of them were thrown behind enemy lines, where they participated in raids by partisan detachments and filmed the daily feat of the “people's avengers.”

The first films were released in July 1941: “Girlfriends to the Front”, “Chapaev with Us”. Favorite heroes from the screen addressed the viewer with a call to fight the enemy. "Combat film collections" were created. Such directors as G. Alexandrov, B. Bernet, S. Gerasimov, Vs. took part in them. Pudovkin and others. Viewers saw their favorite actors on the screens - L. Orlova, B. Babochkin, M. Ladynina, N. Kryuchkov, N. Cherkasov and many others.

There was a lot that was imperfect and superficial in the “Combat Film Collections.” However, the films told about popular anger, about people who rose to defend their country. In particular, the film “Feast in Zhirimunka” told about the feat of an old peasant woman who remained in a village occupied by the Nazis in order to take revenge on the Nazis for all the atrocities they committed. She treats uninvited guests to poisoned food, and in order to lull their vigilance, she eats this food with them and dies along with her enemies. In 1942, full-length films about the Great Patriotic War began to be released: “Secretary of the District Committee” by I. Pyryev, a little later “She Defends the Motherland” by F. Ermler, “Rainbow” by M. Donskoy. “She Defends the Motherland” is the story of a simple Russian woman, Praskovya Lukyanova, who lost her husband and son during the Nazi invasion, and led a partisan detachment of people’s avengers.

The films “Two Fighters” by L. Lukov, “A Guy from Our Town”, “Wait for Me” by A. Stolper, “Six Hours After the War” by I. Pyryev, “New Adventures of Schweik” by S. Yutkevich and others were extremely popular. The art of cinematography fought alongside its people. It was able to reveal the patriotism of people because the hero was a participant who fought at the front and in the rear also because the main goal was to serve his people. Films about the great battle of a great country against fascism have become history, but the more time passes, the more valuable they are to us. Fiction films become “documentary” because they capture time. The actors did not play their characters, they were part of their lives.

conclusions

During the war, according to the Extraordinary State Commission to Investigate the Atrocities of the Nazi Invaders, published in Pravda in September 1945, a total of 430 museums out of 991.44 thousand palaces of culture and libraries were destroyed and looted. The houses of the museums of L.N. Tolstoy in Yasnaya Polyana, A.S. Pushkin in Mikhailovsky, I.S. Turgenev in Spassky-Lutovinevo, P.I. Tchaikovsky in Klin. The 12th century frescoes in the St. Sophia Cathedral in Novgorod were irretrievably lost to Russian culture. Paintings by Repin, Serov, Shishkin, and Aivazovsky were lost. All this could not but affect the development of Soviet artistic culture after the war.

The Great Patriotic War united all art workers; they created their own “artistic weapons”, which were next to their people who defended their homeland. It formed courage and hatred of the enemy. Arriving at the fascist lair, the soldiers wrote their hatred on the columns of the Reichstag. Among them are the names of artists. And let their names be painted over today, but the human memory captured in works of art will not be erased.

Self-test questions

1. Name the main features of heroic-patriotic literature of the Great Patriotic War.

2. Name the literary works of the Great Patriotic War.

3. List the works of fine art by A. Daineka, A. Plastov, Kukryniksov.

4. Name the composer of the “Seventh Symphony”

5. List the names of composers who created symphonic works during the Great Patriotic War.

6. Name the films created during the Great Patriotic War that reveal the feat of the Soviet people.

Publication date: 2014-11-28; Read: 1805 | Page Copyright Infringement | Order writing a paper

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

As during the years of the revolution, the first place in the schedule of the war years was occupied by the poster. Moreover, two stages in its development are clearly visible. In the first two years of the war, the poster had a dramatic, even tragic sound. Already on June 22, the Kukryniksy poster “We will ruthlessly defeat and destroy the enemy!” appeared. He brought down popular hatred on the invading enemy, demanded retribution, and called for the defense of the Motherland. The main idea was to repel the enemy, and it was expressed in harsh, laconic visual language, regardless of creative individuals. Domestic traditions were widely used. So, “The Motherland is calling!” I. Toidze (1941), with an allegorical female figure against a background of bayonets, holding in her hands the text of the military oath, both in composition and color (red, black, white) echoes Moore’s “Have you signed up as a volunteer?” The poster of V.G. sounded like a call for vengeance. Koretsky “Warrior of the Red Army, save!” (1942), which also used the traditions of the revolutionary years - photomontage, as A. Rodchenko did. There was not only not a single fighter, but, it seems, not a single person at all, who would not be pierced by the tragic power of this image of a woman clutching a child in horror, at whom a bayonet with a swastika is pointed. The poster became like an oath of every fighter. Artists often resorted to the images of our heroic ancestors (Kukryniksy “We fight hard, we stab desperately, grandchildren of Suvorov, children of Chapaev,” 1941). “Free”, “Take revenge!” - images of children and old people cry out from poster sheets.

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

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

Similar to the Leningrad “Combat Pencil,” Georgian artists began to publish a series of small propaganda sheets called “Bayonet and Pen,” in which literary text played a large role. Among the artists participating in this publication were L.D. Gudiashvili, among the poets – Tabidze. Similar propaganda leaflets were performed by Ukrainian artists and dropped into the occupied territory. Georgian and Ukrainian propaganda graphics have a mainly heroic and dramatic tone; Azerbaijani artists worked in a satirical vein according to the tradition that had developed before the war.

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

The series by L.V. are completely different in spirit. Soyfertis “Sevastopol” (1941–1942), “Crimea” (1942–1943), “Caucasus” (1943–1944). Soifertis does not depict the tragic aspects of the war, but only everyday life, the everyday life of war, which he, a Black Sea sailor, was well familiar with. Painted in black watercolor, Soyfertis's graceful drawings are full of humor and keen observation. Made truthfully, but in a different key than Shmarinov’s, they glorify the heroism of the Soviet people. Sheet "No Time!" (1941), for example, depicts a sailor leaning on a poster stand, whose boots are deftly cleaned by two boys during a short respite between battles.

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

Painting during the war years also had its stages. At the beginning of the war, it was mainly a recording of what was seen, not intended to be generalized, almost a hasty “picturesque sketch.” Artists wrote based on living impressions, and there was no shortage of them. It was not always possible to achieve what was planned; the paintings lacked depth in revealing the theme and the power of generalization. But there was always great sincerity, passion, admiration for people who steadfastly withstand inhuman tests, directness and honesty of artistic vision, a desire to be extremely conscientious and accurate.

The speed of a keen-eyed sketch did not exclude seriousness and depth of thought. Sketches of artists who found themselves in besieged Leningrad - V. Pakulin, N. Rutkovsky, V. Raevskaya, N. Timkov and others - are priceless pictorial documents to this day (Ya. Nikolaev “For Bread”, 1943; V. Pakulin "Neva Embankment. Winter", 1942). During the Great Patriotic War, many young artists came forward; they themselves took part in the battles near Moscow, the great battle for Stalingrad, they crossed the Vistula and Elbe and took Berlin by storm.

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

The portraits of the intelligentsia written by M. Saryan during the war years are particularly significant and monumental in their image (academician I.A. Orbeli, 1943; composer A.I. Khachaturyan, 1944; poet and translator M. Lozinsky, 1944; writer M. Shaginyan, 1944, and etc.).

During the war years, Saryan also painted landscapes and still lifes. It is worth noting one special still life, which he called “To the Armenian Soldiers, Participants of the Patriotic War” (1945), depicting the fruits and flowers of Armenia: as a gift and gratitude to those who are fighting and winning, and as a memory of those who died far from their homeland, and as hope for a future peaceful life .

In 1941–1945 Both domestic and landscape genres are developing, but they are always somehow connected with the war. An outstanding place in the formation of both during the war years belongs to A. Plastov. Both genres seem to be combined in his painting “The Fascist Flew Over” (1942): young birches, gray skies, distant fields familiar to each of us. Against the backdrop of this peaceful autumn landscape, the atrocity of the fascist pilot who killed the shepherd boy and the cows he grazed seems even more monstrous. They say that viewers froze in front of this painting when it was exhibited at the exhibition “The Great Patriotic War” in 1942. Plastov also painted very bright, heartfelt landscapes of our homeland. In the last year of the war, A. Plastov painted a beautiful picture “Harvest” (1945, Tretyakov Gallery): a serious and tired old man and children are having lunch near the compressed sheaves - those who remained in the rear and who fed the soldiers. Plastov’s painting is lush, his brushwork is broad and generous, and the landscape does not contain that mournful, aching note that sounds in the previous picture.

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

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

The female figure is read as a light spot on a dark background, while the figure of the fascist interrogating her appears as a dark spot on a light one, and this, according to the author, should sound symbolic: a woman, as if rooted in her native land, but also like a monument rising above the smoke of the fire, embodies the power of people's pain, suffering and invincibility. This is expressed quite clearly, concisely, but also illustratively “literary”. The figure of the tortured son seems completely unnecessary. And so the thought is clear and extremely understandable.

The painting by A.A. is not without a certain poster-like quality, so alien to the art of painting. Deineka’s “Defense of Sevastopol” (1942), created in the days when “the battle was going on... holy and right, a mortal battle not for the sake of glory, for the sake of life on earth.” The theme itself is the reason for the enormous emotional impact of the painting. Although the viewer knows that Sevastopol was abandoned by our troops, these sailors fighting to the death are perceived as winners. As a result, they became them. Deineka conveys the terrible tension of the battle not with illusory details, the realities of the situation, but with certain, purely pictorial techniques, hyperbolization. By cutting off a row of bayonets with the edge of the picture, the artist creates the impression of an avalanche of enemy troops, although he depicts only a small group of fascists rushing to the shore, the movements of the figures are deliberately rapid, the angles are sharp. The ferocity of the battle “holy and right” is conveyed primarily by color. The sailors' blouses are dazzlingly white, their figures are readable against a dark background, the figures of the Germans are dark against a light background. It is rightly noted that the faces of the sailors are open to the viewer; we see their expression, such as, for example, the face of a sailor in the foreground, preparing to throw a bunch of grenades at the enemy. His figure is a symbol of a fierce battle. We don't see the faces of our enemies. With one coloristic device, the film does not have the straightforwardness that is in “Mother of the Partisan.”

Not only the color, but also the composition is built on contrast. In the background, the mortally wounded sailor is contrasted with the figure of a killed German. The third plan is a bayonet battle, where the fighters met in the last mortal battle. Deineka reveals the heroic content through the main thing, ignoring secondary details. Using poster-literary, but also intensely expressive artistic language, the image of a fierce battle is created.

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

Nemensky was one of the first who, in those difficult years for art, decisively abandoned pathetic glorification. Through the ordinary, and not the exceptional, he depicts the everyday feat of the people in this most bloody of all wars that have happened on earth. In essence, the programmatic work expresses the innovative role of the artist.

In the last years of the war, the Kukryniksy created one of their best paintings, turning to the image of antiquity - Sophia of Novgorod as a symbol of the invincibility of the Russian land (“Flight of the Nazis from Novgorod”, 1944–1946). Against the backdrop of the majestic facade of the cathedral, wounded by shells, the scurrying arsonists seem pitiful, and the pile of twisted rubble of the “Millennium of Russia” monument cries out for vengeance. The artistic shortcomings of this picture are made up for by its sincerity and genuine drama.

In historical painting, images of heroes of the glorious past of our Motherland appear, inspiring Soviet soldiers to fight the enemy, recalling the inevitability of death, the inglorious end of the conquerors. Thus, the central part of P. Korin’s triptych is occupied by a full-length figure of Alexander Nevsky, in armor, with a sword in his hand against the backdrop of Volkhov, St. Sophia Cathedral and a banner depicting the “Savior Not Made by Hands” (1942–1943, Tretyakov Gallery). Later, the artist would say: “I painted it during the harsh years of the war, I painted the unconquered, proud spirit of our people, which “at the judgment hour of its existence” stood up to its full gigantic height.” The main thing for Korin is not the archaeological authenticity of historical details, but the revelation of the spiritual essence of the hero, his determination, which knows no obstacles on the path to victory. The right and left parts of the triptych – “Northern Ballad” and “Ancient Tale” – are paintings about a courageous and mentally resilient Russian man. But they are clearly weaker than the central part; it has been rightly noted that they are also harmed by the well-known “encryption” of the plot. The pictorial and plastic solution is characteristic of Korin: the forms are extremely generalized, the plasticity of the figure is rigid, the contour is graphic, the coloring is based on local, contrasting combinations.

The oldest artist E.E. works a lot in the historical genre. Lansere. N. Ulyanov paints a picture about the war of 1812 (“Loriston at Kutuzov’s headquarters,” 1945). But in the historical genre of the war years, especially towards the end of the war, just as in others, changes are emerging: the paintings are becoming more complex, gravitating towards multi-figures, so to speak, “developed dramaturgy”. In this sense, it is worth comparing the already mentioned laconic, majestic composition of “Alexander Nevsky” with the painting by A. P. Bubnov (1908–1964) “Morning on the Kulikovo Field” (1943–1947) or with the painting by M. Avilov “The Duel of Peresvet with Chelubey” (1943) in order to understand that “nationality” in a historical canvas is not achieved by the number of persons depicted.

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

Despite the more difficult working conditions of a sculptor in comparison with a painter and graphic artist (special equipment for work is needed, more expensive materials, etc.), Soviet sculptors worked actively from the first days of the war, participating in traveling exhibitions in 1941 and in exhibitions “The Great Patriotic War” (1942), “Heroic Front and Rear” (1944), etc.

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

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

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

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

In the sculpture of the so-called small forms, figurines, which developed mainly after the war, Lebedeva leaves unforgettably poignant, poetic images (“Sitting Tatlin”, plaster, 1943–1944).

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

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

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

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

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

Kuleva Yulia

History essay with presentation

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Municipal educational institution

"Melekhovskaya basic secondary school No. 2"

ABSTRACT

"When the guns fired..."

(literature and art during the Great Patriotic War).

Kuleva Yulia

Teacher:

Kuleva

Natalia Victorovna

Melekhovo 2009

Plan

1. Introduction.

2. Literature during the Great Patriotic War.

2.1 Poetry of the war years.

2.2 Military journalism.

2.3 Stories and novels about the war.

3. Art during the Great Patriotic War.

3.1. Cinema.

3.1.1. War chronicles and film novels.

3.1.2. Art films.

3.2. Art.

3.2.1. Propaganda poster as the main form of fine art during the war.

3.2.2. Painting, sculpture, graphics.

3.3. Wartime music.

4. Conclusion.

Bibliography.

1. Introduction

The Great Patriotic War is one of the brightest and most tragic pages in the history of our country. The war became a terrible test for the entire Soviet people. A test of courage, resilience, unity and heroism. To survive the confrontation with the most powerful of the developed countries of that time - Nazi Germany - became possible only at the cost of enormous effort and the greatest sacrifices.

During the war, the ability of our people to endure severe social overloads, developed by thousands of years of Russian experience, was clearly demonstrated. The war once again demonstrated the amazing “talent” of the Russian people to reveal all their best qualities, abilities, and potential precisely in extreme conditions.

All these popular feelings and sentiments were manifested not only in the mass heroism of Soviet soldiers at the front, but also in the rear. The flow of volunteers to the front did not dry out. Tens of thousands of women, teenagers, and old people took to machine tools and mastered tractors, combines, and cars to replace the husbands, fathers, and sons who had gone to war.

The war with its grief, loss of loved ones, suffering, enormous strain on all the spiritual and physical forces of the people and at the same time an extraordinary spiritual uplift was reflected in the content of works of literature and art during the war years. My essay talks about the enormous contribution to the great cause of Victory made by the artistic intelligentsia, who shared the fate of the country along with all the people. While working on the abstract, I studied a number of articles and publications. I learned a lot of interesting things for myself in the book by P. Toper “For the sake of life on earth...”The book is a broad study of world literature devoted to the military theme, talks about the works of this period, their ideological orientation and heroes. The collections “The Second World War: Cinema and Poster Art”, as well as “The History of Moscow during the Great Patriotic War and the Post-War Period”, which introduced me to famous film masters, artists, musicians and their works, aroused great interest. The textbook for preparing for exams “Russian Literature of the 20th Century” gave me the necessary theoretical basis. Internet resources also contributed to successful work on the abstract.

2. Literature during the Great Patriotic War

The Great Patriotic War was a difficult test that befell the Russian people. The literature of that time could not remain aloof from this event.

So on the first day of the war, at a rally of Soviet writers, the following words were spoken: “Every Soviet writer is ready to devote all his strength, all his experience and talent, all his blood, if necessary, to the cause of the holy people’s war against the enemies of our Motherland.” These lofty words were justified. From the very beginning of the war, writers felt “mobilized and called upon.” About two thousand writers went to the front. Five hundred of them were awarded orders and medals. Eighteen became Heroes of the Soviet Union. More than four hundred of them did not return. These are A. Gaidar, E. Petrov, Y. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young.

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

Writers lived the same life as the fighting people: they froze in the trenches, went on the attack, accomplished feats and... wrote.

Oh book! Treasured friend!

You're in a fighter's duffel bag

I went all the way to victory

Until the end.

Your big truth

She led us along.

We went into battle together.

Russian literature of the Second World War period became literature of one theme - the theme of war, the theme of the Motherland. The writers felt like “trench poets” (A. Surkov), and all literature as a whole, in the apt expression of A. Tolstoy, was “the voice of the heroic soul of the people.” The slogan “All forces to defeat the enemy!” directly related to writers. Writers of the war years mastered all types of literary weapons: lyricism and satire, epic and drama. However, the first word was spoken by lyricists and publicists.

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

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

During the war, the feeling of homeland intensified. Torn away from their favorite activities and native places, millions of Soviet people seemed to take a new look at their familiar native lands, at the home where they were born, at themselves, at their people. This was reflected in poetry: heartfelt poems appeared about Moscow by Surkov and Gusev, about Leningrad by Tikhonov, Olga Berggolts, and about the Smolensk region by Isakovsky.

Here are lines from Nikolai Tikhonov’s poem dedicated to Leningrad:

More than once, like waves, enemies came,

So that it breaks on granite.

Disappear in a foamy whirlwind of spray,

Drown without a trace in the black abyss

And he stood there, big as life,

Not like anyone else, unique!

And under the fascist guns howl

The way we know him

He took the fight like a sentry,

Whose post is forever unchangeable!

During the blockade of 1941-1943, Olga Berggolts was in Leningrad besieged by the Nazis. In November 1941, she and her seriously ill husband were supposed to be evacuated from Leningrad, but Nikolai Stepanovich Molchanov died and Olga Fedorovna remained in the city. After a very short time, the quiet voice of Olga Berggolts became the voice of a long-awaited friend in the frozen and dark besieged Leningrad houses, became the voice of Leningrad itself. This transformation seemed almost a miracle: from the author of little-known children's books and poems, Olga Berggolts suddenly became a poet personifying the resilience of Leningrad. She worked at the Radio House throughout the days of the siege, conducting radio broadcasts almost daily, which were later included in her book “Leningrad Speaks.” During the difficult days of the blockade, the poetess wrote with hope:

...We are now living a double life:

In dirt, in darkness, in hunger, in sadness,

We breathe tomorrow -

A free, generous day.

We have already won this day.

Love for the fatherland and hatred for the enemy is the inexhaustible and only source from which our lyrics drew their inspiration during the Great Patriotic War.

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

One of the widely known poems is “Son” by Pavel Antokolsky, dedicated to the memory of junior lieutenant Vladimir Pavlovich Antokolsky, who died a heroic death on June 6, 1942. Here are its final stanzas:

Farewell my sun. Goodbye my conscience.

Farewell to my youth, dear son.

Let the story end with this farewell

About the most deaf of the deaf loners.

You stay in it. One. Detached

From light and air. In the last torment,

Told by no one. Not resurrected.

Forever and ever, eighteen years old.

Oh, how far are the roads between us,

Coming through centuries and through

Those coastal grassy spurs,

Where a broken skull gathers dust, showing its teeth.

Goodbye. Trains don't come from there.

Goodbye. Planes don't fly there.

Goodbye. No miracle will come true.

But we only dream dreams. They dream and melt.

I dream that you are still a small child,

And you’re happy, and you trample your bare feet

That land where so many lie buried.

During the war, A. Tvardovsky’s poem “Vasily Terkin” enjoyed enormous popularity, chapters of which were published in front-line newspapers and passed from hand to hand by soldiers. The collective image of the Russian soldier, brave, hardy, never discouraged, who marched with the liberating army to Berlin, became a true favorite, taking a strong place in front-line folklore.

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

The Great Patriotic War found Alexei Tolstoy already a famous writer (in 1941 he completed the third book of his famous novel “Walking Through Torment”), at the age of 58.

The attack on our country by the fascists evoked an angry, protesting response from the patriotic writer. On the fifth day of the war, A. Tolstoy’s first article, “What We Defend,” appeared in the Pravda newspaper, in which the writer called on the Soviet people to stand up in defense of their homeland. Tolstoy wrote in it: “To defeat the armies of the Third Empire, to sweep away all the Nazis with their barbaric and bloody plans from the face of the earth, to give our homeland peace, tranquility, eternal freedom, abundance. Such a high and noble task must be completed by us, the Russians, and all the fraternal peoples of our Union.”

This article was followed by many other striking appearances by him in our press. In total, A. Tolstoy wrote more than 60 journalistic articles in the period 1941-1944.

In these articles, the writer often turns to folklore, to Russian history, notes the traits of the Russian character, the dignity of the Russian people. Articles often refer to Russian folk tales (in Army of Heroes, Alexey Tolstoy compares Hitler to a fairy-tale wolf). In “Russian Warriors,” the writer quotes “The Tale of Igor’s Campaign.” Other articles mention the struggle with Khan Mamai, the victories of Alexander Nevsky and Mikhail Kutuzov. Alexey Tolstoy, in his military journalism, consistently deduces a certain “Russian character”, noting certain features characteristic of the Russian people. This includes “detachment from the familiar in difficult moments of life” (“What We Defend”), “Russian intelligence” (“Army of Heroes”), “the aspiration of the Russian people for moral improvement” (“To the Writers of North America”), “disdain for his life and anger, intelligence and tenacity in a fight" (“Why Hitler Must Be Defeated”).

Describing the Germans, Alexey Tolstoy often laughs at them, exposes them as “lovers of sausages and beer” (“What We Defend”, “Blitzkrieg” and “Blitz Collapse”), calls them cowards and fools, while giving relevant examples. He ridicules the psychological methods of warfare of the fascists (“Brave Men”), comparing “skull and bones ... in buttonholes, black tanks, howling bombs” with the horned masks of savages. Thus, Tolstoy tried to combat various myths about the enemy that circulated among the soldiers. Alexei Tolstoy writes a lot about the exploits of Russian soldiers.

The theme of hatred is extremely important for Alexei Tolstoy, as well as for all other Soviet wartime publicists (“I call for hatred”). Horrible stories about no less terrible atrocities of the fascists also serve as a call to hatred.

In the context of the turbulent, tense events of the war, journalism as a combat, operational genre received special development and distribution in Soviet literature. Many of our writers wrote journalistic articles and essays during these years: I. Erenburg, L. Leonov, M. Sholokhov, Vs. Ivanov, B. Gorbatov, N. Tikhonov and others. With their articles they instilled high civic feelings, taught an uncompromising attitude towards fascism, and revealed the true face of the “organizers of the new order.” Soviet writers contrasted fascist false propaganda with great human truth. Hundreds of articles cited irrefutable facts of the atrocities of the invaders, quoted letters, diaries, testimonies of prisoners of war, named names, dates, numbers, and made references to secret documents, orders and instructions of the authorities. In their articles, they told the harsh truth about the war, supported the people's bright dream of victory, and called for perseverance, courage and perseverance. Patriotic journalism during the war days played a large and effective role in instilling the fighting spirit of our army and in the ideological arming of the entire Soviet people.

Journalism had a huge influence on all genres of wartime literature, and especially on the essay. From the essays, the world first learned about the immortal names of Zoya Kosmodemyanskaya, Liza Chaikina, Alexander Matrosov, and about the feat of the Young Guard. Very common in 1943-1945 was an essay about the feat of a large group of people. Thus, essays appear about the U-2 night aviation (K. Simonov), about the heroic Komsomol (V. Vishnevsky), and many others. The essays dedicated to the heroic home front are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes, but to mass labor heroism. Marietta Shaginyan and Elena Kononenko wrote most often about people on the home front.

The defense of Leningrad and the battle of Moscow were the reason for the creation of a number of event essays, which represent an artistic chronicle of military operations. This is evidenced by the essays: “Moscow. November 1941” by V. Lidin, “July - December” by K. Simonov.

During the Great Patriotic War, works were also created in which the main attention was paid to the fate of man in war. Human happiness and war - this is how one can formulate the basic principle of such works as “Simply Love” by V. Vasilevskaya, “It Was in Leningrad” by A. Chakovsky, “The Third Chamber” by B. Leonidov. A. Chakovsky’s novel “It Was in Leningrad” was created hot on the heels of the war. It was based on what the writer personally saw and experienced.

Simply, restrainedly, with documentary accuracy, A. Chakovsky tells about the feat of Leningrad, about the harsh, heroic everyday life of the blockade years, combining the great and the tragic, the immortal and everyday care for our daily bread.

The writer managed to recreate, in isolated, sometimes very individual actions, events, and experiences of people, many essential features of the people’s character and people’s morality, explore the spiritual potential of the defenders of Leningrad, and learn the secrets of their perseverance and perseverance.

“It Was in Leningrad” is a book about the courage of daily exploits, about devoted, uncompromising love, about the innermost and best that the harsh reality of war revealed in people.

In 1942, V. Nekrasov’s war story “In the Trenches of Stalingrad” appeared. This was the first work of a then unknown front-line writer, who rose to the rank of captain, who fought at Stalingrad all the long days and nights, who participated in its defense, in the terrible and back-breaking battles waged by our army

The war has become a big disaster for everyone, a misfortune. But it is precisely at this time that people show their moral essence, “it (war) is like a litmus test, like some kind of special manifestation.” For example, Valega is an illiterate person, “...reads syllables, and ask him what a homeland is, by golly, he won’t really explain. But for this homeland... he will fight to the last bullet. And the cartridges will run out - with fists, with teeth....” The battalion commander Shiryaev and Kerzhentsev are doing everything possible to save as many human lives as possible in order to fulfill their duty. They are contrasted in the novel with the image of Kaluzhsky, who thinks only about not getting to the front line; The author also condemns Abrosimov, who believes that if a task is set, then it must be completed, despite any losses, throwing people under the destructive fire of machine guns.

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

3. Art during the Great Patriotic War

The Great Patriotic War revealed to the artist’s gaze a wealth of material that concealed enormous moral and aesthetic riches. The mass heroism of people has given so much to art as human studies that the gallery of folk characters that was started in those years is constantly replenished with new and new figures. The most acute collisions of life, during which the ideas of loyalty to the Fatherland, courage and duty, love and camaraderie were revealed with particular vividness, are capable of nourishing the plans of the masters of the present and future.

3.1. Cinema

243 documentary cameramen captured for us the chronicle of the war. They were called “soldiers with two machine guns” because in their arsenal, in addition to military weapons, the main weapon remained a professional one - a movie camera.

Newsreels in all its forms were brought to the fore. The work of front-line operators is a constant creative search, selecting from a huge amount of footage the most important things in the harsh everyday life of the Great Patriotic War.

In the first months of the war, the Leningrad, Kiev, and Minsk newsreel studios were put out of action. What remained was the Moscow Film Studio, which became the organizing center and was able to quickly staff front-line film groups and send them out to the active army. And already on June 25, 1941, the first front-line filming was included in the 70th issue of Soyuzkinozhurnal, and from the beginning of July 1941 it already had a permanent column “Film reporting from the fronts of the Patriotic War.” The consolidation of newsreel materials into newsreels and films was carried out at the main headquarters - the Central Newsreel Studio in Moscow.

For the needs of the film crews filming the combat actions of our pilots, the Air Force command allocated a large number of special narrow-film film cameras. Together with aircraft designers, the best places were found to install them on airplanes: the devices were paired with aircraft small arms and turned on simultaneously with the shot.

About 250 cameramen worked on the fronts of the Great Patriotic War. The main core of front-line newsreels were cameramen, seasoned on the labor fronts of the first five-year plans - R. Carmen, M. Tronevsky, M. Oshurkov, P. Paley. But there were also many talented young people who later entered the golden fund of Russian cinematography - V. Sushchinsky, Ya. Leibov, S. Stoyanovsky, I. Belyakov, G. Bobrov, P. Kasatkin, B. Nebylitsky... She filmed for about six months in a partisan unit operating behind enemy lines in the Moscow region, cameraman M. Sukhova. Without looking up for a minute from the camera lens, cameraman B. Pumpyansky filmed the battle for the liberation of the Chop station by Soviet troops, which lasted 5 hours...

Each major battle, which had a landmark significance for the course of the Great Patriotic War, was dedicated to a separate full-length documentary film, and especially important events - short films or front-line releases.

Thus, the days and nights of the heroic defense of Moscow were recorded on film by operators of the Central Newsreel Studio. In November 1941, the studio began producing the film magazine “In Defense of Native Moscow.” The first battles with fascist aviation in the skies of the capital were filmed day after day by a group of cameramen led by director M. Slutsky. The result was the film "Our Moscow", created in the summer of 1941. The same director repeated the technique suggested by M. Gorky for the pre-war film “Day of the New World”. On June 23, 1942, 160 operators recorded the main events of the 356th day of the war on all fronts, as well as the work of the rear. The footage was combined into the film "Day of War".

The first journalistic film about the war was the film “The Defeat of German Troops near Moscow” directed by I. Kopalin and L. Varlamov, which was a triumphant success on screens all over the world (more than 7 million viewers watched it in the USA alone) and was awarded the highest award of the American Film Academy - the Academy Award Oscar for Best Foreign Documentary Film of 1942.

The last documentary film of the war years was the film “Berlin” directed by Y. Railman, created in 1945. Its demonstration opened the first post-war international film festival in Cannes. The French newspaper "Patriot de Nisdus Sud Est" wrote then: "The realism of "Berlin" borders on hallucination. Photographs from nature are mounted with amazing simplicity and create the impression of reality, which only Soviet cinema achieved... In "Berlin" victory is achieved mainly thanks to patriotism, courage, self-control of man. "Berlin" gives us a wonderful lesson in cinematic art, and the incessant applause of critics and the public is the best evidence of this."

In total, during the war years, 34 full-length documentaries, 67 short films, 24 front-line issues and more than 460 issues of the Soyuzkinozhurnal and the News of the Day magazine were released. 14 documentaries - among them "The Defeat of German Troops near Moscow", "Leningrad in the Struggle", "Berlin" - were awarded the USSR State Prize.

For the creation of a film chronicle of the Great Patriotic War, the Central Newsreel Studio was awarded the Order of the Red Banner in 1944. For the documentary and journalistic epic "The Great Patriotic War", which consisted of 20 full-length films, a large team of its creators, led by the artistic director and chief director R. Carmen, later a Hero of Socialist Labor, People's Artist of the USSR, was awarded the Lenin Prize in 1980.

More than 40 front-line documentary filmmakers died a brave death during the years of the last war... Their names are inscribed on memorial plaques in the buildings of the Central House of Cinema, the Central Studio of Documentary Films, the Central Studio of Children's and Youth Films named after M. Gorky. A marble pylon with the names of the deceased documentarians of the Mosfilm film studio rises on the territory of the studio. And next to it is a sculptural composition, which is a ragged concrete block with high relief images of heroic episodes of the war, made by sculptor L. Berlin, architects E. Stamo and M. Shapiro and installed here in May 1965.

Different than before the war, but still a powerful means of ideological education of the masses, art cinematography became. The masters of artistic cinematography sought to tell about the heroes of the front and rear in such a way that their exploits would inspire thousands and tens of thousands of soldiers, officers, partisans, and home front workers to new heroic deeds.

The war posed difficult challenges for Soviet cinematography. In solving them, film workers showed great courage and soldierly valor. Already on June 22, 1941, documentary filmmakers made the first combat footage, and on June 25, the first military episode was included in Soyuzkinozhurnal No. 70.

The Moscow Chronicle Film Studio played an outstanding role in documenting the events of the war, in creating operational military film reports and large documentary-journalistic films about battles and campaigns. The studio brought together many creative workers in feature films. Having created a kind of headquarters in Moscow - the Central Studio of Chronicles - documentary filmmakers organized film groups at each front.

The theme of the defense of Moscow and the heroic deeds of Muscovites occupied a prominent place in the work of documentarians. Already in the summer of 1941, director M. Slutsky released the film “Our Moscow”. In the fall, a film was made about the festive parade on Red Square and a special issue “In defense of our native Moscow.” The full-length journalistic film “The Defeat of German Troops near Moscow,” edited by directors I. Kopalin and L. Varlamov from the filming of dozens of cameramen, became a stage in the development of documentary cinema. This film was followed by works about the defense of Leningrad, about the epic on the Volga, about partisans, about the battle for Ukraine, and later, in 1944-1945, about the liberation campaign of the Soviet Army, about the capture of Berlin and the defeat of imperialist Japan. These and many other films were created overwhelmingly by Moscow directors and cameramen. Many famous “fighters with movie cameras” died at the front.

The Moscow Film Studio of Popular Science Films also carried out a lot of fruitful work. Carrying out the high mission of promoting scientific and socio-political knowledge, during the war the film studio was reorganized on a military basis and renamed Voentekhfilm. Directors V. Suteev, V. Shneiderov and others created the films “German Defense and Overcoming It,” “Infantry in Battle,” “Destroy Enemy Tanks!”; directors P. Mosyagin and I. Svistunov made many useful military-medical films. Instructional films were made for the population on fighting fires, behavior during enemy raids, and providing first aid to bomb victims.

In the very first days of the war, the Moscow Mosfilm studio began filming short film novellas, a kind of film posters about the war. Among them were satirical (Hitler's Dream about defeated dog knights, Napoleon, the occupiers of 1918 and other would-be conquerors), and heroic (about the exploits of Soviet intelligence officers, border guards, tank crews). The heroes of some of the short stories were well-known movie characters beloved by the people: Maxim, postman Strelka, three tank crews; in others, new heroes appeared who were destined for a long screen life: the brave soldier Schweik, the deft and fearless soldier - cook Antosha Rybkin - the “brother” of Vasily Terkin. The film novellas widely used material from pre-war films about Alexander Nevsky, Peter I, and V.I. Chapaev. These film novels, filmed in the very first months of the war at the Moscow film studios Mosfilm and them. A. M. Gorky, as well as at Lenfilm, were then combined into full-length “Combat Film Collections” under the general title “Victory is Ours!”

The art cinematography faced a second, no less important task - to complete, despite the war, all valuable feature films that had begun production before the Nazi attack on the USSR. And such paintings were completed. These are “The Pig Farmer and the Shepherd”, “Mashenka”, “Romantics” and other films.

All these films reminded the viewer of peaceful labor, of the achievements of national culture, which must now be defended with arms in hand.

The vigorous cinematic activity did not stop in Moscow for a single minute. However, in the most difficult days, when the fighting took place several tens of kilometers from our capital, it was decided to evacuate the art film studios from Moscow. In Almaty, Moscow filmmakers created their main wartime works.

The first full-length feature film about the Great Patriotic War was “Secretary of the District Committee,” directed by I. Pyryev from a script by I. Prut. In the center stood the image of the party leader. The authors of the film, with great propaganda power and artistic skill, revealed on the screen the popular origins of the image of a communist who raised people to mortal combat with the enemy. The secretary of the district committee, Stepan Kochet, performed by the wonderful actor V. Vanin, rightfully opened a gallery of large-scale, bright characters of Soviet cinema of the war years.

Art cinema took a new step towards understanding the truth of war in the film “She Defends the Motherland” (1943). The importance of this film, directed by F. Ermler from a script by A. Kapler, lay primarily in the creation of the heroic, truly folk character of the Russian woman - Praskovya Lukyanova - embodied by V. Maretskaya.

An intense search for new characters, new ways to solve them was crowned with success in the film “Rainbow” (1943) with actress N. Uzhviy in the title role, directed by M. Donskoy from the script of Wanda Vasilevskaya and filmed at the Kiev film studio. This work showed the tragedy and feat of the people, a collective hero appeared in it - the entire village, its fate became the theme of the film. Subsequently, this film receives worldwide recognition and becomes the first Soviet film to win an Oscar. Natalya Gebdovskaya, actress of the film studio named after. Dovzhenko said in her memoirs that she “cryed while listening to this story on the radio,” and that the actors were happy to at least somehow participate in the production of this film. A few months after the film's release, American diplomat Charles Bohlen translated Rainbow for Roosevelt at the White House. Roosevelt was extremely excited. His words after watching the film were: "The film will be shown to the American people in its befitting grandeur, accompanied by commentary by Reynolds and Thomas." After that, he asked: “How can we help them now, immediately?”

The best films of the Central United Film Studio were dedicated to the partisan struggle, to the brave and proud Soviet people who did not bend before fascism, who did not stop fighting for freedom and independence: “She Defends the Motherland,” “Zoya,” “Invasion,” “Man No. 217,” “ In the name of the Motherland."

A significant role in mobilizing the spiritual forces of the people to fight fascism was played by the film adaptation of the works of K. Simonov, carried out by director A. Stolper (the film “The Guy from Our City”), and the play by A. Korneichuk “Front” (directed by G. and S. Vasiliev).

The films “Big Land” directed by S. Gerasimov, “Native Fields” directed by B. Babochkin based on the script by M. Padava, and “Once Upon a Time There Was a Girl” told about the labor feats performed by Soviet people, especially women, in the rear, in factories and on collective farms. "directed by V. Eisymont.

In 1943, studios began to gradually return to their Moscow pavilions. The first big feature film shot during the war years at Mosfilm was “Kutuzov” (directed by V. Petrov) with A. Dikiy in the title role.

To familiarize active army units with the latest achievements of the performing arts, the genre of concert films was developed and gained popularity, in which musical, theatrical, ballet and pop numbers were combined according to thematic, national or other principles. Work continued on the film adaptation of literary works (“Wedding” and “Anniversary” by A.P. Chekhov, “Guilty Without Guilt” by A.N. Ostrovsky). Several historical-revolutionary films were produced.

So, the war was a difficult but fruitful period in the life of filmmakers. The masters of Mosfilm and Soyuzdetfilm promptly responded to the requests of their viewers, truthfully and passionately reflected the images of the heroes of the great war in their films, and continued and developed the traditions of Soviet cinema. The widespread development of chronicle-documentary cinematography, with its truthful, accurate and at the same time truly artistic depiction of all the most important military events, helped a special type of film art - figurative journalism - to take an honorable place in Soviet culture.

3.2. Propaganda poster as the main form of fine art during the Great Patriotic War

During the Great Patriotic War, a high national upsurge and the unity of the peoples of the USSR were felt. In all sectors of the economy and culture, as well as the military industry, good results were achieved, society mobilized and worked for victory. The artists, together with all the people, stood in military formation. Young craftsmen headed to the military registration and enlistment offices to sign up as volunteers for the Red Army. 900 members of the Union of Artists fought on the fronts and were soldiers. Five of them became Heroes of the Soviet Union.

In the twentieth century, nowhere in the world was political poster given such great importance as in the USSR. The situation required the poster: revolution, civil war, colossal construction, war against fascism. The authorities set great tasks for the people. The need for direct and quick communication - all this served as the basis for the development of the Soviet poster. He addressed millions, often solving problems of life and death with them.

The poster achieved great success during the Great Patriotic War. This period, in terms of the scale of what was done, is comparable to the development of poster art during the October Revolution and the Civil War, but there were hundreds of times more poster sheets created, many posters became classics of Soviet art. In its spirit, in its ability to respond mobile to the events of today, the poster turned out to be one of the most effective means for expressing the feelings of the entire population, for calling to action, for the defense of the Motherland, for announcing urgent news from the front and rear. The most important information had to be conveyed using the simplest and most effective means and in the shortest possible time.

Each period of the war had its own tasks, all of which required urgent solutions. The poster served as a means of transmitting information to those areas in which there were no communication lines, which were occupied, but where Soviet partisans operated. Posters have gained extraordinary popularity. Their contents were retold from mouth to mouth and became popular rumor.

"...Night. Local residents come to help the scouts. Quietly, sneaking in the darkness along village streets and alleys, carefully avoiding German guards and patrols, fearless patriots paste up, and in the case when this fails, lay out colored panels of Soviet posters and “TASS Windows” on the ground. Posters are glued to fences, barns, and houses where the Germans are stationed.

Posters distributed deep behind German lines are news of the great Motherland, a reminder that friends are close. The population, deprived of Soviet radio and the Soviet press, often learns the truth about the war from these posters that appeared out of nowhere...,” this is how a veteran of the Great Patriotic War talks about the poster.

Due to lack of time, not all the posters were made with high quality, but, despite everything, they conveyed a great and sincere feeling, because in the face of death and suffering it was impossible to lie.

The largest centers for the mass publication of posters in 1941-1945 were the Moscow and Leningrad branches of the state publishing house “Iskusstvo”. Posters were also printed in large cities of Siberia, the Far East, the Volga region, Central Asia, and Transcaucasia, published by political agencies of the Red Army and the Navy, and by newspaper editors. Just as often, posters were made by hand and using a stencil, which speeded up their production, but made it impossible to distribute in thousands of copies.

During the Great Patriotic War, many artists worked in the genre of poster art who had not worked with posters either before or after the war.

Poster artists quickly responded to the events of the first days of the war. Within a week, five poster sheets were released in mass circulation, and publishing houses were preparing to print over fifty more. By the evening of June 22, 1941, the Kukryniksy (M. Kupriyanov, P. Krylov, N. Sokolov) created a sketch of the poster “We will ruthlessly defeat and destroy the enemy.” Later, the first poster of the Great Patriotic War was reproduced in print more than once and published in England, America, China, Iran, Mexico and other countries.

“In the original version,” says the book “The Second World War: Cinema and Poster Art,” “the Red Army soldier’s bayonet pierced Hitler’s hand, so the poster sounded more like a warning. But it was already printed with a different plot. The bayonet stuck straight into Hitler's head, which fully corresponded to the ultimate goal of the unfolding events. The successful combination of heroic and satirical images in the poster's plot also corresponded to the spirit of the times. A similar combination was often used by the Kukryniksy and other artists.

It should be noted that the Soviet Army soldier is located on the right side of the poster, and Hitler is on the left. Interestingly, many Soviet military posters depict opposing forces in a similar way. The results of psychological experiments indicate that the viewer, looking at a picture, newspaper page or poster, first notices the upper right square, and from here his gaze moves to the rest of the image. Thus, the upper right square, and in general the right side of a picture or poster, from the point of view of the psychology of visual perception, occupies a special place. On many military posters, it is in this place that Red Army soldiers are depicted rushing to attack the Nazis, whose figures are placed on the left side of the poster, in the lower part. Such a solution helps to reveal the content more deeply and increases the expressiveness of the work.”

In addition to the above, from June 22 to June 29, 1941, N. Dolgorukov’s posters “So it was... So it will be!”, “Let’s sweep away the fascist barbarians from the face of the earth”, Kukryniksov’s “Napoleon was defeated, the same will happen to the arrogant Hitler”, and Kokorekin “Death to the fascist vermin!”

The satirical poster was very popular during the war. He combined the traditions of the Civil War poster with the achievements of political newspaper and magazine cartoons of the 30s. The artists skillfully used the language of metaphor, satirical allegory, and the flatness of a white sheet of paper, on which the silhouette of the figures was clearly visible and the slogan was clearly legible. Stories of confrontation between forces were popular: evil aggressive and fair defending.

Especially many satirical posters were created during 1941. Among them we can list a number of interesting posters: Kukryniksy “Cannibal Vegetarian, or Two Sides of the Same Coin”; B. Efimov, N. Dolgorukov “They performed - they had fun, retreated - they shed tears”; N. Dolgorukov “So it was... So it will be!”; Kukryniksy “We will cut off all the paths of the evil enemy, from the loop, he will not escape from this!” The satirical poster showed the enemy in a funny light both when he was formidable and dangerous at the beginning of the war, and at the time when the German army began to suffer its first defeats. In the poster “The devil is not as terrible as he is painted,” the Kukryniksy presented a scene from Berlin court life. In reality, the Fuhrer was thin, but on the canvas he is a strong man with large biceps.

Bright posters were created by I. Serebryany “Make it, bite it!”, N. Dolgorukov “He hears menacing tunes”, V. Denis “To Moscow! Hoh! From Moscow: oh”, “The Face of Hitlerism” and others. Most of the satirical posters were produced by TASS Windows.

Poster by A. Kokorekin “Death to the fascist vermin!” resemble the work of the Kukryniksy in plot and artistic execution - similar color scheme, use of the heroic image of a Soviet warrior. A successful symbolic characterization of fascism has been found. The enemy is shown as a writhing huge snake in the shape of a swastika, which is pierced with a bayonet by a Red Army soldier. The work was done using a typical poster technique: no background, using only black and red colors. The image of the struggling forces - aggressive and reflecting aggression - is given in sharp opposition. But both figures have a flat silhouette. The limitation in paints was caused by necessity - for quick reproduction in printing, the paint palette had to be small.

In N. Dolgorukov’s poster “So it was... So it will be!” a limited palette of colors is also used, the image is silhouetted. In general, it should be noted that in the first year of the war, artists created many silhouette posters with little color, where the heroes were presented in a generalized, non-individualized manner. The historical topic was very popular. At the first stage of the war, the main efforts were aimed at explaining the nature of the war and the goals of the USSR in it.

The independence and strength of the people, who began to create their own socialist state, were rooted in the heroic past of Russia. Just as our great-grandfathers drove out Napoleon, so the current generation will drive out Hitler, just as our fathers fought for the revolution and freedom, so we will fight - similar slogans were written on posters and leaflets, and there was hardly any doubt about it.

From the first days of the war, artists of the older generation continued to work actively: D. Moor, V. Denis, M. Cheremnykh. The spirit of revolutionary posters was also present in their work. Often old methods were used by artists to depict new events in a new era. Not all works were successful. For example, Moore repeated his famous poster “Have you signed up as a volunteer?”, slightly changing the character in it and replacing the inscription with “How did you help the front?” However, this work did not have the success that the master’s first poster had. Because, as the poster artist V. Ivanov writes, “in art there are no exact rules, but there are strict laws. And the most ingenious move cannot be repeated,” since it is with repetition that it loses its freshness and sharpness of impact.

Let's compare the previous poster with the famous work of I. Toidze “The Motherland is Calling!” It was published in millions of copies in all languages of the peoples of the USSR, and its popularity is not accidental. Just like Moore, Toidze places a complete monolithic silhouette on the plane of the sheet, using a combination of only two colors - red and black. Thanks to the low horizon, the poster is given a monumental feel. But the main force of influence of this poster lies in the psychological content of the image itself - in the expression of the excited face of a simple woman, in her inviting gesture.

In the first months of the war, the subjects of heroic posters were filled with scenes of attacks and single combats between a Soviet soldier and a fascist, and the main attention, as a rule, was paid to conveying the movement of violent striving towards the enemy. These are the posters: “Forward for our victory” by S. Bondar, “Our cause is just. The enemy will be defeated!" R. Gershanika, “The Nazis will not pass!” D. Shmarinova, “Forward, Budenovites!” A. Polyansky, “We will crush the enemy with a steel avalanche” V. Odintsov, “Cut the reptiles!” M. Avilova, “Let’s show the despicable fascist murderers how a Soviet sailor can fight!” A. Kokorekina. The multi-figure composition of these posters was supposed to emphasize the idea of the nationwide nature of resistance to the enemy. A. Kokosh’s poster “A fighter who finds himself surrounded” called for stopping the invasion at any cost. Fight to the last drop of blood!”

Quite often, the subjects of posters were episodes of mobilization and the creation of a people's militia. For example, “The Mighty People's Militia” by V. Tsvetkova, “Youth, go to battle for the Motherland!” V. Pravdina, “Defense of the Fatherland is the sacred duty of every citizen of the USSR” by Z. Pravdina. The photo poster “Our forces are innumerable” by V. Koretsky carried the idea of creating a single people’s militia to fight the enemy. The artist turned to the symbol of Russian national patriotism - the sculpture of I. Martos “Minin and Pozharsky”, which on the poster personified Moscow and the entire multinational Soviet people. Then, in June, V. Koretsky created the composition “Be a Hero!” This poster, enlarged several times, was installed along the streets of Moscow, along which columns of mobilized city residents passed in the first weeks of the war. The defenders of Leningrad were led into battle by V. Serov’s poster “Our cause is just - victory will be ours.”

In the posters of 1941, the content was often deepened by the presence of a second symbolic plane, a historical parallel. The artists resorted to comparing modern warriors and generals of the past, scenes of modern battle and conventional allegorical images symbolizing the Motherland. The posters repeatedly depicted Russian national heroes calling on descendants to fight the enemy. Sheets were issued depicting Alexander Nevsky, Suvorov, Kutuzov, as well as the heroes of the civil war Chapaev and Shchors. Such posters include: “So it was: So it will be!” N. Dolgorukova, “Our land is glorious for its heroes” V. Govorkova, “To arms, Slavs! Let's defeat the fascist oppressors" by V. Odintsov, "Breasts to defend Leningrad" by A. Kokorekin.

One of the most common subjects was the image of a woman replacing a man who had gone to the front at a machine tool, driving a tractor, or at the helm of a combine harvester. The best posters of this topic “More bread for the front and rear. Harvest the crop completely!” N. Vatolina and N. Denisova, “Girls boldly sit on a tractor!” T. Eremina, “We swore to our husbands” M. Bri-Bein, “The stronger the rear, the stronger the front!” O. Eiges. Many posters touched on the topic of labor discipline: “Absenteeism must be eliminated completely!” S. Igumanova, “Marriage-Enemy” B. Clinch, “Car Drivers! Uninterruptedly deliver goods to the front” Y. Beketova, “Collect scrap”, “How did you help the Front?” and others. One of the most famous home front posters is “Don’t Talk!” belongs to the Moscow artist N. Vatolina.

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

1941 and 1942 brought the first significant successes to Soviet easel art during the war. The artist A. Deineka with great artistic expressiveness captured Manezhnaya Square with its houses covered with camouflage paint. In 1942, he created the wonderful landscape “Outskirts of Moscow. November 1941” - Moscow with streets blocked by anti-tank obstacles, wary and stern.

During the same period, graphic works appeared in large numbers. Among them were drawings by A. Laptev and engravings by M. Pikov, telling about the construction of defensive structures, a drawing by P. Sokolov-Skal “At the Bolshoi Theater in Moscow in 1941”, engravings by two of the largest Moscow masters of color engraving I. Pavlov and I. Sokolov . The first belongs to the dramatic sheet “Fire of the Book Chamber”, completed by the artist in 1946, the second - a whole series of engravings, united under the general title “Moscow in 1942” (1943).

The first war winter brought to art a keen sense of the drama of the great battle, the heroism of the people, the remarkable qualities of the Soviet man who took up arms to defend his Motherland. This feeling was revealed in a whole series of paintings, sculptures and graphic works created in 1942 and which were, as it were, the result of the artists’ comprehension of the first stage of the war. These works appeared for the first time at an exhibition in the cold halls of the Museum of Fine Arts in 1942. In the same year, an exhibition of Leningrad artists was shown in Moscow, and on November 7, 1942, the exhibition “The Great Patriotic War” was launched in the capital, which was essentially the first All-Union wartime art exhibition. A large place at the exhibition was occupied by paintings dedicated to the heroic battle of Moscow (“The feat of 28 Panfilov heroes” by D. Mochalsky, “Parade on Red Square on November 7, 1941” by K. Yuon, etc.), as well as the life of wartime Moscow (P Konchalovsky, “Where do they donate blood here?”, etc.). At this exhibition, Muscovites saw for the first time the work of artists who were at the front.

At the same time, the artist O. Vereisky created his magnificent illustrations for A. Tvardovsky’s poem “Vasily Terkin”, inspired by the battle of Moscow.

Large works of a general nature that appeared in 1942 carried a keen sense of the tragedy of the struggle, an angry protest against the inhuman cruelty of fascism. It was in this tone that A. Plastov painted his painting “The German Flew Over”. The savage cruelty of the fascists is exposed by the Kukryniksy’s painting “Tanya”. It is characteristic that in both paintings the feeling of the beauty and greatness of the Russian land and Russian nature resounds with particular force.

D. Shmarinov’s graphic series “We will not forget, we will not forgive!” is close to these paintings in its ideological structure. (1942).

Among the works about the first stages of the war, about the strength of the people growing stronger in the brutal struggle and suffering, was the statue “Unconquered”, made in 1943 by E. Balashova. In a generalized form, the ideals of courageous heroism were embodied in the sculpture “Partisan” by V. Mukhina and in the statue “Zoya” by M. Manizer, executed in 1942.

During 1943-1944. There was an exhibition of artists of the Soviet Union “Heroic Front and Rear”. At the exhibitions, graphics and, above all, front-line drawings occupied a large place. A large number of drawings dedicated to the partisans were created by N. Zhukov, who in those years headed the studio of military artists named after. Grekova. The studio's masters have visited almost all fronts. The natural conclusion to the work of Greek artists in the field of graphics during the war years were the drawings of V. Bogatkin, A. Kokorin and other artists dedicated to the capture of Berlin.

During the war years, book graphics continued to develop successfully, represented by the works of Kukryniksy, D. Shmarinov, B. Dekhterev, E. Kibrik. Painting in the last years of the war acquired new strength and new themes. Paintings by Muscovite artists “After the departure of the Nazis” by T. Gaponenko (1943-1946), “Mother of the Partisan” by S. Gerasimov (1943) revealed the strength and resilience of the people’s character. The monumental painting by F. Bogorodsky “Glory to the Fallen Heroes” (1945) sounded like a solemn requiem to those who died for the freedom and independence of the Motherland.

A large number of wartime paintings are imbued with a lively and acute sense of the truth of ordinary, but filled with deep patriotic content, events in the life of the Soviet people. These are the works of Yu. Pimenov, depicting front-line roads, scenes in vegetable gardens near Moscow; works by A. Plastov, dedicated to the hard work of peasants; painting by a young artist from the Greek studio of B. Yemensky “Mother” (1945). A significant number of paintings on historical themes by artists E. Lanceray, M. Avilov, N. Ulyanov, A. Bubnov appeared. Other genres of painting continued to develop widely during the war years. In portraiture, the courageous image of the Soviet patriot was revealed with particular force (works by A. Gerasimov, P. Kotov, etc.). In landscape painting, the idea of love for the Motherland, ardent attachment to the Russian land was expressed in numerous canvases created by V. Baksheev, V. Meshkov, M. Nesterov, N. Krymov, I. Grabar, S. Gerasimov, N. Romadin and others. B. Rybchenkov and K. Kupetsio worked in Moscow landscapes in those years. Works of mosaics and monumental painting continued to be created in Moscow during the war years. Let us remember the mosaic dedicated to the military exploits of the Russian people at the Avtozavodskaya metro station (1943, artist V. Bordichenko and others). The development of monumental sculpture was also associated with the construction of the metro in those years. G. Motovilov dedicated his reliefs at the Elektrozavodskaya station to the work of Muscovite workers. In general, two trends emerged in the field of sculpture in the last years of the war. The first of them is the creation of portraits and sculptural groups, where a person is captured as if in a minute of break between battles. The portraits of Colonel Yusupov (1942) by V. Mukhina, and the poet A. Tvardovsky (1943) by S. Lebedeva are imbued with living spontaneity. The second trend is monumental-memorial. Large teams of Muscovite artists worked on sculptural portraits for monuments. In the development of this type of sculpture, which has a generalized heroic character, great contributions were made by such masters as E. Vuchetich, the author of the temperamental-romantic bust of I. D. Chernyakhovsky (1945), N. Tomsky, the author of the portrait of twice Hero of the Soviet Union M G. Gareeva (1945). Glorifying the exploits of the people and their army, helping to better understand the events that took place, awakening hatred of the fascist invaders, strengthening the people's sense of Soviet patriotism, fine art played a huge educational and mobilizing role during the war.

Wartime music

The war period was one of the most fruitful in the history of Soviet music. During these years, composers created many outstanding works, full of faith in the victory of a just cause. Among them were large symphonic works, and cantata-oratorio, and chamber, and operas, and, of course, first of all, songs.

The battle song and march walked alongside the soldiers throughout the war, rousing them to heroic deeds. And a warm, soulful song adorned leisure time during the quiet hours between battles and brought the warriors together. From the very first days of the war, the song became a truly folk art, the voice of the heroic soul of the people. It is noteworthy that in just the first two days of the war, Moscow composers wrote 40 songs, and four days later there were already more than 100.

One of the most remarkable songs from the early days of the war, “The Holy War” by A. Alexandrov, immediately won universal recognition. Her epically stern demeanor contained a truly national awareness of patriotic duty. Monumental in content, laconic in expression, this song already in those days became “the musical emblem of the Great Patriotic War.”

Other wartime songs also gained great popularity. There was, perhaps, no person who did not know the songs of M. Blanter (“In the forest near the front” to the words of M. Isakovsky, “Wait for me” to the words of K. Simonov). The golden fund of Soviet song culture also includes “Song of the Brave” by V. Bely (text by A. Surkov), “Oh, my fogs, foggy” by V. Zakharov (text by M. Isakovsky), “The harshly noisy Bryansk forest” by S. Katz (text A. Sofronova), “Song of the Dnieper” by M. Fradkin (text by E. Dolmatovsky), “Treasured Stone” (text by A. Zharov) and “Song of the Defenders of Moscow” (text by A. Surkov) by B. Mokrousov, “Samovars-Samovars” ", "Vasya-Cornflower", "Where the eagle spread its wings" (text by S. Alymov) by A. Novikov, "In the dugout" by K. Listov (text by A. Surkov) and many others.

During the harsh years of the war, military brass music acquired great importance. In units of the Soviet Army, popular marches were constantly heard in radio broadcasts: “Captain Gastello”, “People’s Avengers”, “Native Moscow”, “Victory March” by N. Ivanov-Radkevich, “Victory is ours”, “The enemy will be defeated”, “ Fighting Friends" by M. Starokadomsky, "March of the Mortar Guards", "Counter March" by S. Chernetsky, "Heroes of the Patriotic War" by A. Khachaturyan, "For the Motherland" by N. Rakov, etc.

In an effort to artistically and philosophically generalize the events of our time, Soviet composers, along with the mass song genre, created a number of monumental symphonic works.

The works of symphonic music revealed the remarkable features of the Russian national character, the rich spiritual world of the Soviet man, his courage and heroism. During the war years, people became acquainted with D. Shostakovich's 7th symphony; with the 22nd, 23rd and 24th (1941 -1943) “military” symphonies of N. Myaskovsky; S. Prokofiev’s 5th Symphony (1944), which the author conceived as “a symphony of the greatness of the human spirit.” The 2nd symphony of V. Muradeli (1944) was dedicated to “Our struggle and victory”; the monumental 2nd symphony of A. Khachaturian (1943) aroused great interest.

Chamber vocal music has been significantly enriched, and its genre scope has expanded. Expanded forms became predominant - ballad, arioso,

monologue, cycles of romances, united by a common theme. The basis of the content, the range of their themes and plots were heroic and lyrical motifs. These are the vocal cycles of A. Aleksandrov “Three Cups” (text by N. Tikhonov), Y. Levitin “My Ukraine” (texts by M. Golodny, S. Gorodetsky, S. Golovanivsky), V. Nechaev “About valor, about feat, about glory" (texts by A. Akhmatova, E. Dolmatovsky, K. Simonov and M. Isakovsky), romances by A. Alexandrov, N. Rakov, T. Khrennikov, etc.

In the genre of choral music, the bright works of D. Kabalevsky have gained great popularity: the suite “People's Avengers” (1942) to the text of E. Dolmatovsky, the choral suite by M. Koval “Ural-Bogatyr” (1943) to the texts of V. Kamensky, M. Matusovsky, choirs A. Novikov.

The modern theme, images of the heroes of the Patriotic War, the theme of love for the Motherland have widely penetrated the genre of cantata and oratorio. During the war years, such significant works were created as the oratorio by Yu. Shaporin “The Legend of the Battle for the Russian Land” (1943-1944) based on texts by K. Simonov, A. Surkov, M. Lozinsky and S. Severtsev, cantatas by N. Myaskovsky “Kirov is with us” based on the poem of the same name by N. Tikhonov (1943) and “On the banks of the Volkhov” (1943) by M. Chulaki to the text by V. Rozhdestvensky - both are dedicated to the hero city of Leningrad, cantata “The Great Motherland” (1942 d.) D. Kabalevsky to texts by S. Stalsky, A. Prokofiev, G. Tabidze, R. Rza and others.

In 1941-1945. saw the release of the opera “Emelyan Pugachev” (1942) by M. Koval, “Suvorov” (1942) by S. N. Vasilenko, “War and Peace” (first edition, 1943) by S. Prokofiev, the main character of whom were the heroic Russian people. And it is no coincidence that the best episodes of these operas are associated with the embodiment of the image of the people. For the first time, S. Prokofiev’s opera “War and Peace” was performed in concert in Moscow on June 2 and 11, 1943 in the Great Hall of the Moscow Conservatory.

Heroic and fairy-tale-fantastic themes have developed in ballet music. Interesting and fundamentally new performances of the war period were S. Prokofiev’s ballet “Cinderella” (1941-1944), staged on the stage of the Bolshoi Theater in December 1945, and Yu. Yurovsky’s ballet “Scarlet Sails”, which was staged by a branch of the Bolshoi Theater theater in Moscow in December 1943

Moscow composers have done a lot of interesting and new things in the field of film music. Music for films was far from being limited only to songs: it was in films dedicated to war that music acquired a self-sufficient significance, expressing through generalized symphonic means the main dramatic conflict of the film. This is the music of S. Prokofiev for the film “My Ukraine”, G. Popov for the film “She Defends the Motherland”, D. Shostakovich for the film “Zoya” and A. Khachaturyan for the film “Man No. 217”, where vividly artistic , contrasting images of two worlds: on the one hand, images of the Motherland, its glorious heroes, and on the other, fascist invaders. The music created by T. Khrennikov for the film “At six o’clock in the evening after the war”, N. Bogoslovsky for the film “Two Fighters”, songs by A. Lepin for “Combat Film Collection” No. 7, etc., gained great popularity.

However, the meaning and role of musical art during the war years was determined not only by creative achievements. Musical figures made a great contribution to the organization of musical life both at the front and in the rear. Artists of the capital's musical theaters and philharmonic societies, united in front-line brigades and theaters, often performed in front of soldiers in the active army. Artists of the Musical Theater named after. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko formed the front-line theater of musical comedy, whose performances were a huge success among the soldiers. The famous artists of the Bolshoi Theater V.V. Barsova, M.D. Mikhailov, E.K. Kruglikova, the famous quartet named after. Beethoven was often sent to the front; The so-called trench ensembles, performing at the forefront, were popular.

The activities of professional and amateur concert teams serving the soldiers acquired a huge scale. Along with the concert brigades, army song and dance ensembles also performed at the fronts.

The international role of Soviet music increased enormously during the war years: the best foreign performers and conductors included works by many Soviet composers in their repertoire. In July 1942, under the baton of the famous conductor A. Toscanini, D. Shostakovich's 7th Symphony was performed for the first time in the United States. The symphony was widely included in the programs of the best orchestras in Europe. The works of D. Kabalevsky, N. Myaskovsky, S. Prokofiev, A. Khachaturian, T. Khrennikov and other Soviet composers were often performed abroad. Soviet musical culture, the basis of which is humanism, the struggle for peace, for a better future for humanity, played a big role during the Great Patriotic War. The works of Soviet musicians instilled in the people love for their Motherland, courage, heroism, and hatred of enslavers and enemies of culture. Soviet musicians fulfilled their duty to their Motherland with honor.

Conclusion.

The struggle for freedom and independence of the Motherland during the war years became the main content of the life of Soviet people. This struggle required them to exert extreme spiritual and physical strength. And it was precisely the mobilization of the spiritual forces of the Soviet people during the Great Patriotic War that was the main task of our literature and our art.

The Great Victory became a common, national cause. She worked day and night at the front and in the rear. And without any exaggeration, we can say that cultural figures also made their important contribution to the common cause: writers, artists, musicians, filmmakers.

References:

For the sake of life on earth. P. Toper. Literature and war. Traditions. Solutions. Heroes. Ed. third. Moscow, "Soviet Writer", 1985
Russian literature of the twentieth century. Ed. "Astrel", 2000
"The Second World War: Cinema and Poster Art." M., Mysl, 1995
Golovkov A. “Yesterday there was war.” Magazine "Ogonyok", No. 25 1991
History of Moscow during the Great Patriotic War and the post-war period Nauka Publishing House, M., 1967.