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Self-Portrait
- 1918
- Canvas, oil. 80,5 x 65
- The State Russian Museum
- Ж-2400
Фигура «Женщина, вышивающая красное знамя»
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- СФ-136
Festivities in Honour of the Second Comintern Congress on 19 July 1920. Demonstration on Uritsky Square (now Palace Square)
- Canvas, oil.
- The State Russian Museum
- Ж-6148
The Comintern or the Communist International was the international organisation founded to advocate the world communist movement. The Second Congress of the Comintern started working in St. Petersburg on 19 July 1920. The delegated from 25 countries took part in the Congress. Isaac Brodsky engaged Boris Kustodiev, one of the greatest artists of the World of Art union, to produce a painting devoted to one of the important events of post-revolutionary time.
Using peculiar to him decorative manner and carefulness in depiction of people’s types the artist represented the atmosphere of the celebration of the representatives of different nations who had come to the Congress. Being disabled because of the illness the artist had to travel by car of the PetroSovet round the city exploring the signs of the new city life that were unusual for him, made sketches and immersed in the atmosphere of the celebration. All these observations resulted in a free composition in which red colour different in tones dominated. The different tones of red along with depiction of the crowd in general and individual figures expressed the idea of celebration. “You should have waited for such street”, - the artist recollected. He was sure that “the painting must be the document of our descendants”.
Kettle with lid
- Porcelain.
- The State Russian Museum
- Сф-1344 а,б
В Советской республике не должно быть больных и беспризорных детей! Здоровое физическое и духовно молодое поколение - верный проводник идей коммунизма!
- 1923
- Paper, chromolithography. 61,0 х 102,0
- The State Russian Museum
- Гр.Пл.-1307
Все в общество рабочий патронат "Друг детей". На борьбу с беспризорностью
- 1923 (?)
- Paper, chromolithography. 92,5 х 69,5
- The State Russian Museum
- Гр.Пл.-752
Пионерки двадцатых годов
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-878
Портрет С. М. Буденного
- 1923
- Cardboard, oil. 42 х 27
- The State Russian Museum
- Ж-6475
Сервиз с супрематической росписью
- 1923
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-13-18
Чашка (получашка) «Супрематизм»
- 1923
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-27
Чернильница с крышкой «Супрематизм с „планитом“»
- 1923-1924
- Porcelain, painting over glaze. 12,7 х 16 х 14,1
- The State Russian Museum
- СФ-29
Design for the Decoration of Uritsky Square in Petrograd on the First Anniversary of the October Revolution
- plywood, oil.
- The State Russian Museum
- ЖС-576
Nathan Altman was commissioned to design the festive decorations for Uritsky (Palace) Square. The artist set himself the task of altering the entire outward appearance of the square, contrasting the beauty of the victorious people to the beauty of Imperial Russia. According to the principle of contrast, the angular, uneasy and brightly painted planes of the building the artist covered in red constructions, which served as a background for all of Petrograd s holiday decorations.
Vladimir Lenin. At the Red Square
- 1924
- Paper, watercolours. 40 х 60,5
- The State Russian Museum
- РС-19706
Всем вам, бабы, надо знать, как ребенка воспитать!
- Paper, chromolithography. 100,7 х 71,5
- The State Russian Museum
- Гр.Пл.-1305
Да здравствует комсомол! На смену старшим молодая рать идет
- 1924
- . 93,2 х 59,6
- The State Russian Museum
- Гр.Пл.-2327
Красный флот - защита СССР от врагов
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1171
Курорт
- 1924
- Canvas, gouache. 107 x 71
- The State Russian Museum
- ЖС-1836
Октябрина
- 1924
- Bronze. 30 x 19 x 17
- The State Russian Museum
- СО-1237
Орден Боевого Красного Знамени
- 1924
- Silver, enamel, .
- The State Russian Museum
- Мед.А-4434
Портрет В. И. Ленина
- 1924
- Canvas, oil. 97,1 х 80,3
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-37
Портрет М. А. Тройницкой
- 1924
- Canvas, oil.
- The State Russian Museum
- Ж-8790
Эскиз мозаичной плиты с изображением серпа и молота
- 1924
- Paper, watercolours, ink, bronze. 19,7 x 17,3
- The State Russian Museum
- РС-6306
Юные ленинцы дети Ильича. К 7ой годовщине Октябрьской революции
- 1924
- Paper, chromolithography. 100 х 66,8
- The State Russian Museum
- Гр.Пл.-2330
«Поднимай производство!»
- plywood, tempera, . 73 x 103
- The State Russian Museum
- ЖС-1837
Мы юные ленинцы
- 1925
- Paper, chromolithography. 107,3 х 71,5
- The State Russian Museum
- Гр.Пл.-382
Портрет В. И. Ленина
- Cardboard, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1347 АОМИИ
Фигура милиционерки
- 1920
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-118
Komsomol Girls. Younger Generation from Outside Moscow
- Canvas, oil.
- The State Russian Museum
- Ж-5683
Вступай в дошкольный поход. Строй новый быт, организуй детсады, площадки, воспитывай коммунистическую смену
- 1920s
- Paper, chromolithography. 102,5 х 70,5
- The State Russian Museum
- Гр.Пл.-862
Портрет И. Б. Кустодиевой
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-919
Портрет Н. П. Охлопкова
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-1002
У мавзолея Ленина (Траурный день памяти Ленина)
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2009 АОМИИ
Эскиз плаката «К победе нас привел ленинизм»
- 1926
- Paper, gouache. 13,2 x 8,5
- The State Russian Museum
- РС-6305
First Appearance of Vladimir Lenin at the Petrosovet Meeting at Smolny on 25 October 1917
- 1927
- Canvas, oil. 132 x 191
- The State Russian Museum
- ЖС-1981
The painting was created for the 10th anniversary of the October Revolution. On the rostrum is Vladimir Lenin, on the dais his comrades-in-arms: Vladimir Antonov-Ovseyenko, Lev Ka me - nev, Vladimir Milyutin, Nikolai Podvoisky, Leon Trotsky, Georgy Oppokov (Lomov), Alexei Rykov and Lev Karakhan. Painted after Lenin’s death in 1924, the work was devoted to the theme of his popularity among the revolutionary-minded public.
Lenin on the Rostrum
- 1927
- Canvas, oil. 71,2 x 54
- The State Russian Museum
- ЖС-729
Isaac Brodsky created an extensive gallery of Vladimir Lenin images from both memory and live sketches. The artist witnessed Lenin speaking at meetings in 1918 and painted him at the sessions of the 2nd Comintern Congress in 1920. Many of Brodsky’s Lenin portraits were copied by artists repeatedly and mechanically reproduced millions of times, but this particular painting was regarded as unsuccessful and unknown to the wider public. The figure’s expressive pose seemed overly photographic to contemporaries and its contrast with the large sky mass and stylized cloud patterns unfavourable for the leader’s image, recalling the works of the Symbolists. However, it’s these very “mistakes” by the artist that raise the painting out of the realm of canonical clichés, lending it an ambiguity that’s interesting for modern viewers.
Mikhail Frunze on Horseback
- Circa 1927
- Canvas, oil. 197.5 x 173.5
- The State Russian Museum
- ЖБ-2008
Mikhail Vasilyevich Frunze (1885–1925): Po li - ti cal organizer, Red Army commander, leading Soviet and Communist Party figure.
Rural Gathering
- 1927
- Papier-mâche, tempera, gold, lacquer, painting. 12,5 х 18,5 х 0,8
- The State Russian Museum
- ОНИ/Р-1791
Textile Workers
- Canvas, oil.
- The State Russian Museum
- ЖБ-988
Alexander Deineka painted this picture following a trip to a mill organised by a Soviet magazine. He was one of the leaders of the Society of Easel Artists, who developed the method of the synthetic reflection of reality. The artist had an uncommonly acute sense of the Zeitgeist, which he captured in his canvases. He masterly arranges the composition from adjacent planes inhabiting different time zones. The rhythms of the looms are united in an ornamental space, while the almost monochrome, silver-white palette lends the picture the precision and sharpness of an artistic statement.
Woman Worker (Portrait in Blue)
- 1927
- Canvas, oil.
- The State Russian Museum
- ЖБ-1325
Alexei Pakhomov’s Woman Worker (Portrait in Blue) occupied a central place at the Circle of Artists exhibition held at the Russian Museum in 1927. Although the artist’s model was his wife, a worker in a cigarette factory, the image is clearly more of a type than a concrete individual. Pakhomov utilises a number of devices to underline the monumentality and grandeur of the image. The woman with the light brown hair is depicted from the knees upwards. The proportions of her body are slightly magnified in comparison with real life, evoking the sensation that she is “cramped” within the canvas. The dynamic turn of the head and torso is halted by the solemn rhythms of the folds of her dress, remotely reminiscent of the garbs worn by the figures in early Renaissance frescoes. The artist later recalled: “Mental clarity, the purity of youth and its aspiration towards nobility and the sublime are exceedingly attractive. I unwittingly highlighted her wide-open gaze, harmonic and cheerful carriage, and readiness for action. I began to increasingly scrutinise and appraise the art of antiquity and the High Renaissance.”
В Крыму (Портрет В. М. Грабарь, жены художника)
- Canvas, oil.
- Симферопольский художественный музей
- Ж-2
По комсомольской путевке
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2171
Праздник 1 Мая у оседлых ненцев
- Canvas, oil.
- Национальная галерея Республики Коми, Сыктывкар
- Ж205
Физкультурные игры на стадионе
- 1927
- Canvas, oil. 166 x 249
- The State Russian Museum
- ЖС-93
Чем сильнее будет мощь флота, тем прочнее станет советская власть
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1164
Conductress
- Canvas, oil.
- The State Russian Museum
- Ж-9186
In the 1920s, like many other artists, Alexander Samokhvalov engaged in quests for typical features of modern life. The rapid changes were particularly evident in the images of women, who assimilated new social roles, professions, lifestyles and clothes. The conductress selling tickets and maintaining law and order in the tram is like a new goddess or commandress of electricity. The proportions of her static figure date back to images of pagan sculptures – stone stele – and Old Russian frescoes. Illuminated by flashes of electric light, she dominates the futuristic and dynamic interior of the tram thundering along the rails. The artist wrote about this work: “The main thing that I wanted to say was that the colossal, terrible force of electricity – previously only considered subordinate to Elijah prophet and Zeus the thunderer – is now subordinated to a simple woman worker. Were she to come face to face with Athena in her chariot, it is Athena and not the conductress who would be surprised.”
Death of a Commissar
- Canvas, oil.
- The State Russian Museum
- Ж-7685
“The Death of a Commissar” was painted by Petrov-Vodkin in 1928. It was commissioned from the Revvoyensoviet (Revolutionary Military Council) for the exhibition “10 years of the RKKA” (The Workers' and Peasants' Red Army). The painting occupies a central place in the Soviet period of Petrov-Vodkin’s creative work. The theme of life, sacrifice and death, which is one of the basic themes for the artist, was illustrated there for the first time in the images of the revolutionary heroes. The plot of the painting is based on an event from the Russian Civil War.
Two figures – the mortally wounded commissar and a soldier supporting him are placed in the foreground. Driven by the whirlwind of battle, the Red Army soldiers slope down the hill. In the composition of the two main characters depicted in the foreground one can see the iconography of the Pieta – the scene of the Lamentation of Christ. The death, though for the sake of other ideals, gains the high sense of sacrificial service to humanity. Petrov-Vodkin expressed his unique artistic system in this work. He gave up the traditional linear perspective and developed the new “spherical” perspective, which presented in poetical form the artist’s world view. Thanks to this perspective the depicted overgrows the framework of the single fact and gains a planetary, universal meaning.
In the Far East. Red Army Soldier
- Canvas, oil.
- The State Russian Museum
- Ж-8392
Red City
- Canvas, oil.
- The State Russian Museum
- Ж-10326
Woman with Buckets
- 1928
- Canvas, tempera. 185 x 150
- The State Russian Museum
- Ж-10265
Группа «10 лет Красной Армии»
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-137
Молодая работница
- 1928
- Canvas, tempera. 65 x 50,5
- The State Russian Museum
- Ж-7562
Передвижные ясли в хлопковом поле
- Canvas, oil.
- The State Russian Museum
- ЖС-2052
Пионервожатая
- 1928
- Canvas, oil.
- The State Russian Museum
- ЖС-1226
Сбор яблок
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-699
Стройка (Стройка совхоза)
- plywood, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-410
У сепаратора
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1282
Эскиз плаката «Молодежь иди в соцсоревнование и ударничество»
- 1928
- Paper, , gouache. 43,6 x 30,2
- The State Russian Museum
- РС-6307
Weaving Shopfloor
- Canvas, oil, tempera.
- The State Russian Museum
- Ж-8149
The industrial theme was addressed by many Soviet artists in the late 1920s. Artists were dispatched to factories to acquire «knowledge of life» and better depict it in their works. Alexander Samokhavalov painted Weaving Shopfloor after visiting the town of Ivanovo, a leading Soviet centre of weaving. Samokhvalov was particularly impressed by the «bright-white architectonics of the weaving shopfloor.» He later recalled: «Two or three young weavers walked calmly among the looms, like nannies ... as if expressing their approval of their rollicking rhythms and correcting possible problems with the same human affection.» Samokhvalov’s weavers are typical representatives of the period. Unlike the heroines of his other works, they are not heroicised. The artist’s task was almost entirely painterly. The picture is based on two perspective directions, with theforeground resolved like a proscenium. The «screens» of the looms pull the viewer’s eye into the depths of the shop floor, where it encounters a worker in a striped sports shirt walking towards it. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 347.
Woman with a File
- 1929
- Canvas, oil. 107 х 70
- The State Russian Museum
- Ж-7564
Баку
- Canvas, oil.
- Вольский краеведческий музей
- ВКМ 22497/3
Батум
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-1032
Группа «Смычка города с деревней»
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-114
Комсомолка 20-х годов в юнгштурмовке
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-1101
Пионеры
- 1929
- Paper, watercolours. 22,5 х 14,3
- The State Russian Museum
- РС-20144
Физкультурница
- 1929
- Canvas, oil. 82,5 х 63,5
- The State Russian Museum
- Ж-6379
Хоровод детей всех наций. [Четвертый фрагмент]
- 1929
- paper mounted on plywood, tempera, watercolours.
- The State Russian Museum
- Ж-8598
8 марта. День организации яслей в колхозах и совхозах
- Paper, chromolithography. 104,0 х 74,0
- The State Russian Museum
- Гр.Пл.-1421
Foundrymen
- Study
- Early 1930s
- Canvas, tempera. 108 x 146
- The State Russian Museum
- ЖС-2000
At the beginning of the 1930s, Osolodkov painted a few works on the theme of “Foundrymen”, as well as some figures of individual workers. In this painting the artist concentrates on the sanctity of the labour process, the ritualistic invocation of fire, and light effects. Judging from the guidelines drawn across it, it was ultimately intended for a wall, which fit the requirements of the times but was not actually executed by many.
Parade
- 1930
- Canvas, oil. 88 х 61
- The State Russian Museum
- Ж-4378
In the 1920s and 1930s, historical and revolutionary themes became decisive in Isaac Brodsky oeuvre. He painted portraits of the leaders of the Soviet state, pictures depicting events of the Bolshevik Revolution and Civil War, and scenes of festivities in a strictly academic manner, attempting to achieve the greatest visual authenticity.
Portrait of Ivan Pavlov
- 1930
- Canvas, oil.
- The State Russian Museum
- Ж-4341
Ivan Petrovich Pavlov (1849–1936): Physiologist, developed the concept of the conditioned reflex. Member of the Imperial Academy of Sciences (1907) and the Academy of Sciences of the USSR. Awarded the Noble Prize (1904).
In 1925, in one of his letters to his biographer, Mikhail Nesterov noted that he had for many years been living not among the “brotherhood” of artists, but among professors and scientists. Such people urged the artist to paint a portrait of Ivan Pavlov, showing him photographs and portraits of the famous Russian scientist. Their “matchmaking” had little success until the two men actually met in 1930. Nesterov was taken by surprise: “Ivan Pavlov was not a bit like the ‘official’ photos I had been shown. I resolved to paint his portrait.” This meeting marked the beginning of a long and close friendship between the artist and the scientist. Invited to the scientific “village” of Koltushi, Nesterov decided to paint a portrait of Pavlov sitting on the covered veranda where he liked to work. The artist’s interest in the scholar’s personality and “explosive” temperament is reflected in the speed with which he painted his portrait. Finished after only three weeks, Portrait of Ivan Pavlov was acquired by the Institute of Experimental Medicine. After Pavlov fell seriously ill in 1933, Nesterov decided to paint a second portrait, which was immediately acquired by the Tretyakov Gallery in Moscow. Nesterov presented Pavlov with a repetition of the first portrait on his eightieth birthday. In 1940, the Institute of Experimental Medicine presented the original portrait to the Russian Museum, retaining the repetition for itself.
After Ivan Pavlov’s death, Nesterov spent several summers in Koltushi at the invitation of his family. He later wrote memoirs of Pavlov and the history of the creation of the portrait.
Rolling-Mill Shop at the Hammer and Sickle Plant
- 1930
- Canvas, oil. 172 x 132,5
- The State Russian Museum
- ЖБ-1799
In the years of the first five-year plans, one of the main heroes in fine art was the factory, and it was depicted as a Temple to Free Labour. Artists were interested in the diverse sectors of industry, gigantic structures, amazing mechanisms, the spectacle of the display, and worshiping the miracles of technology. In similar paintings, amid the factory colossi, the smoke and the racket, the flames and glints of metal, the workers are rendered as animate parts of a great mechanical organism. In Rozhdestvensky’s painting Rolling-Mill Shop at the Hammer and Sickle Plant, it seems at first that there are no people there; they cannot be seen. In the centre of the composition, which depicts an enormous factory floor, a blaze of fire bursts from the boilers, sending out thousands of sparks. The almost demonic scene of taming the element of fire is filled with sounds, momentum, heat, and contrasts in light.
Steelmaking
- 1930
- Canvas, oil. 143 x 176,5
- The State Russian Museum
- ЖБ-1830
This piece was painted during the artist’s trip to Dnepropetrovsk, at the Petrovsky Iron and Steel Works. “The huge metallurgic plant breathed steam, smoke, and fire,” the artist wrote in his diary in 1930. “Inside, on the shopfloors, I was able to observe a great deal, learn about the sequence of various work processes, and sketch figures in motion. One effect of light and colour followed another. One moment the human figures and mecha nisms, frames, braces, stacks, and cranes, were hidden by a veil of smoke, the next they were drowning in darkness, and then the molten metal lit up the room with an unbelievable light. The picture changed like a chameleon” (K. S. Kravchenko. A. V. Kuprin. Soviet Artist, Moscow, 1973, p. 202).
We Will Liquidate the Gap
- 1930
- Canvas, oil. 65 х 85
- The State Russian Museum
- Ж-7677
In his title, the artist uses part of the popular slogan “Whatever it takes, we will close the gap”. This phrase was about being victorious over something, such as, “we will destroy the kulak (affluent peasant) as a class”, etc.
Youth. Laughter
- 1930
- Canvas, oil. 94 x134
- The State Russian Museum
- Ж-1812
In the post-revolutionary years of establishing a new ideological system, the tides turned in Juon’s art when he attempted to find themes in sync with the times. From the second half of the 1920s to the beginning of the 1930s, the artist focused on a specific genre form, something of a “narrative portrait”, in which he captures typical characters of the age — Komsomol members, recreational athletes, parachutists… in other words, the new Soviet youth. He also touches on the theme of the Russian village, choosing archetypical village girls with simple faces and red cheeks, exemplifying the cult of physical fitness and moral rectitude. He most likely encountered many such girls in the village of Ligachevo outside Moscow, which he called his “aesthetic refuge”, and where in 1908 he firmly established his studio.
Ёж - лучший журнал для пионеров и школьников. Чиж - журнал для дошкольников и октябрят
- 1930
- Paper, chromolithography. 62 х 54
- The State Russian Museum
- Гр.Пл.-639
В модельном цехе
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2202
В начальной школе (Всеобуч)
- Canvas, oil.
- Самарский областной художественный музей
- Ж-2055
Всех всеобучников в ряды октябрят. Воспитаем борцов за мировой октябрь
- 1930
- Paper, chromolithography. 105 х 74,5
- The State Russian Museum
- Гр.Пл.-817
Группа «Активисты»
- 1930
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-135
Знай карту, как свои пять пальцев
- 1930
- Paper, . 85,0 х 59,0
- The State Russian Museum
- Гр.Пл.-944
Значок пионерский
- 1920-30s
- . 20 x 18
- The State Russian Museum
- Мед.А-9207
Колхозница с тыквами
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-268
Ленин в Смольном
- Canvas, oil.
- Самарский областной художественный музей
- Ж-453
Лыжная вылазка
- 1930
- Paper, chromolithography. 37,2 х 52,0
- The State Russian Museum
- Гр.Пл.-1975
Мне дома скучно! А нам в яслях весело!
- 1930
- Paper, chromolithography. 51,0 х 68,0
- The State Russian Museum
- Гр.Пл.-1306
Мы требуем всеобщего обязательного обучения
- 1930
- Paper, . 106,7 х 72,5
- The State Russian Museum
- Гр.Пл.-168
Народный комиссар здравоохранения Николай Александрович Семашко
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-1180
Орден Красной Звезды
- 1930
- Silver, enamel.
- The State Russian Museum
- Мед.А-3766
Орден Ленина
- 1930
- Gold, silver, enamel, .
- The State Russian Museum
- Мед.А-4566
Откатчица
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1759
Пионерка
- 1930
- Oil. 80 × 45,5
- Донецкий республиканский художественный музей
- Ж-1036
Подсчет трудодней
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1655
Постройка железной дороги
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-30
Спорт
- paper mounted on plywood, oil, .
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-175
Agitator Worker
- 1931
- Canvas, oil. 124 х 71
- The State Russian Museum
- Ж-7496
Dymshits-Tolstaya believed that what was important in a picture was not the appearance of the depicted, but rather its social significance. In her memoirs, the artist wrote: “[…] inspired by this new man and this new woman, [...] I decided to start making a portrait, an image, of these heroines of the first five-year plans [...] Among the members of a literary circle there was one worker, a poetess of some talent, who served as my model for the picture Agitator Worker.”
Comrade Stepanov
- Blacksmith at the Lenin’s Way Commune
- 1931
- Canvas, oil. 63 х 41
- The State Russian Museum
- ЖБ-1786
Contest of Young Modellers
- 1931
- Canvas, oil. 121 x 95
- The State Russian Museum
- ЖБ-1862
The idea of conquering space and time, key for other genres and types of Soviet art as well, became in the 1920s and 1930s extremely important in reference to works about sport. The ideological and instructional aspects of sport connected with the task of preparing physically developed people, “ready for labour and defence”, became the main focus (the legendary GTO (ready for labour and defence) pin appears in 1930, when the topic of sport is definitively confirmed as an important division of Soviet art). Sport as an integral part of preparing the Soviet individual for any difficulty becomes a leitmotif in the work of many artists, including Adlivankin.
Portrait of Iosif Giryat, Shock Worker of the Karl Marx Factory
- 1931
- Canvas, oil. 96,5 х 79
- The State Russian Museum
- ЖС-1209
The artist’s inscription on the canvas and the stretcher: “Portrait of Iosif Ivanovich Giryat, blacksmith shock worker of the Karl Marx Factory” “painted by artist V. Zverev on the shopfloor”.
Shock Workers at the Red Dawn Factory
- 1931
- paper mounted on plywood, oil. 66,5 х 91,5
- The State Russian Museum
- Ж-9568
Бригада во время перерыва
- 1931
- Canvas, oil. 123 x 99
- The State Russian Museum
- ЖБ-1727
Вход в шахты
- 1931
- Paper, tempera, watercolours. 89 x 70,5
- The State Russian Museum
- РС-4951
Днепрострой
- 1931–1932
- Canvas, oil. 49 × 111
- Донецкий республиканский художественный музей
- Ж-216
Ковровщицы
- 1931
- Canvas, oil, tempera. 66 x 79
- The State Russian Museum
- Ж-9800
Ковровщицы
- 1931
- Canvas, oil. 83,5 х 88
- The State Russian Museum
- Ж-9076
Кондострой
- 1931
- Canvas, oil. 69 х 94
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-466
Красноармейцы-лыжники
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-185
Магнитострой
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-120
На стадионе
- 1931
- Paper, watercolours. 43,8 x 63,5
- The State Russian Museum
- РС-1608
На стройке комсомольской домны
- Paper, ink, gouache.
- Магнитогорская картинная галерея
- Г-148
На учебу
- 1931
- Paper, chromolithography. 51,5 х 29,3
- The State Russian Museum
- Гр.Пл.-1939
Нефтепромысла
- 1931
- Canvas, oil. 108 x 206,5
- The State Russian Museum
- Ж-2337
Октябрята
- 1931
- Paper, chromolithography. 37,5 х 53,6
- The State Russian Museum
- Гр.Пл.-1918
Пионеры у единоличника
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1688
Портрет Ивана Кузнецова
- Paper, mixed media.
- Магнитогорская картинная галерея
- Г-592
Портрет Прониной Пелагеи – премированной ударницы коммуны «Красивая Меча»
- 1931
- Canvas mounted on cardboard, oil. 55 х 39
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-691
Постройка домны
- Paper, ink.
- Магнитогорская картинная галерея
- Г-579
Ремонт паровоза
- 1931
- Canvas, oil, tempera. 82,5 x 86
- The State Russian Museum
- Ж-9324
Сбор металлолома
- 1931
- Paper, chromolithography. 35,2 х 51,0
- The State Russian Museum
- Гр.Пл.-1978
Столяр
- 1921-1942
- Canvas, oil. 106,5 х 97
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Строительство в Армении
- 1931
- Canvas, oil. 97,4 х 142
- The State Russian Museum
- ЖБ-1181
Строительство в Армении
- 1931
- Canvas, oil. 132 х 161
- The State Russian Museum
- Ж-9077
Строительство новой улицы в Ереване
- 1931
- Canvas, oil, tempera. 99 х 120
- The State Russian Museum
- Ж-9339
Стройка СССР
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-65
Стройка в Магнитогорске
- Paper, , ink.
- Магнитогорская картинная галерея
- Г-585
У нас
- plywood, gouache.
- Ярославский художественный музей
- Ж-363
У них
- plywood, gouache.
- Ярославский художественный музей
- Ж-364
Ударник Осокин
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-118
Фабрика людей
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-615
Хибиногорск на фоне Вудъяврчорр
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2215
Чеканщики
- Paper, , ink.
- Магнитогорская картинная галерея
- Г-586
Female Delegates of the Sixth Congress
- 1932
- Canvas, oil. 101 x 149
- The State Russian Museum
- ЖС-2059
The 6th All-Union Congress of Soviets was held in Moscow in March 1931, and included representatives of Soviets (councils) from all Republics. The congress’ programme consisted of a report from the government on state farm and collective farm construction, questions regarding the Constitution of the USSR, and other matters. The congress approved the policies of the government and proposed efforts towards the further development of industry and agriculture. Also, the Tajik Soviet Republic was officially constitutionally formed and accepted into the USSR, which is reflected in Yanovskaya’s painting.
Getting Their Photograph Taken
- 1932
- Canvas, oil. 148 x 111
- The State Russian Museum
- Ж-8828
The main heroes of Fyodor Bogorodsky’s works were sailors, whom the artist referred to as his “brothers”. Himself a former commissar with the Volga and Don fleets during the Civil War, Bogorodsky could not help feeling an affinity with their coarse yet romantic lifestyle. Calling himself “a sailor within the ranks of artists”, he even signed his articles on art for the Nizhny Novgorod Commune “Sailor Bogorodsky”. In 1931, the artist spent six months on naval vessels in the Black Sea, visiting Sebastopole, Odessa and Batumi: “This voyage was decisive in setting me on the path of a ‘naval painter.’ I will never lose touch with my desire to dedicate all my main works to my beloved Red Navy and sailors.” These cordial notes are reflected in Getting their Photograph Taken. Chaffing good-naturedly at the gallant sailor and his faithful female companion naïvely posing against a fake landscape, the artist also invests their images with a healthy dose of sympathy and respect. The sailor possibly brought his clearly expectant wife to be photographed on the eve of a long voyage, in order to have a keepsake to warm his heart in the long days apart. While Bogorodsky’s images are collective and devoid of concrete prototypes, a hint of self-portraiture can nevertheless be discerned in the guise of the sailor.
Girl in a Sports Shirt
- 1932
- Canvas, oil. 102 x 64
- The State Russian Museum
- Ж-4419
Girl in a Sports Shirt won a gold medal at the World Fair in Paris in 1937. One of the most famous works of Soviet art, it was regarded as a landmark in the artist’s oeuvre. Alexander Samokhvalov recalled: «It was a special joy to paint images of my contemporaries in those years.» The painting was acclaimed by fellow artists and critics alike, while the heroine was hailed as a «Soviet Mona Lisa» at the Exposition Universelle. The artist depicts Yevgenia Adamova, a teacher and activist who retained her freshness and vitality all her life. She is a typical Soviet citizen of the 1930s — spontaneous, enthusiastic and purposeful. Samokhvalov confirms his ideal of a simple beauty not only in his model, but also in the painting — austere, laconic and elegant.
The clear architectonics of the composition, broad painting, frescolike texture and dynamic image contain features of monumentality. Girl in a Sports Shirt embodies the artist’s concept of the era and «a remarkable contemporary, the sort of girl who did not exist before.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 347.
Heated Basin and Log Conveyors
- From the Timber Harvesting series
- 1932
- Canvas, oil. 104 х 68,5
- The State Russian Museum
- ЖБ-1394
Turning to the theme of productive labour, so important to painting in the 1920s and 1930s, Boris Tsvetkov creates a series of works entitled Timber Harvesting, which includes Heated Basin and Log Conveyors. Having chosen a relatively unusual theme, the artist finds an effective vantage point — a bird’s eye view — allowing him to construct a diagonal composition that corresponds logically to the dynamics of the situation, while the style itself favours sharp contours. The name of the painting indicates the nature of the process being depicted. The heated basin serves to warm the timber so that it can be better milled, while a mechanised device — a log conveyor — moves the logs onto the shopfloor. The group working with the hitches, the starting point for the industrial process, is also the central visual and conceptual centre of the painting as well. The entire composition is permeated with the bright light of a frosty winter day and an atmosphere of optimistic and fruitful labour, a characteristic common to Soviet painting of that era.
Midday
- Variant study for the painting Lunch Break in Donbass (1935, Latvian National Museum of Art, Riga)
- 1932
- Canvas, oil. 59,5 х 80
- The State Russian Museum
- ЖБ-1816
This smaller painting was created after the artist’s trip back to his native Donbass at the beginning of the 1930s. We know of a photograph from Deineka’s archive with a group of adolescents running out of a river, which seems to have prompted the theme of the painting. The artist creates a generalised character for his young contemporaries, hot-tempered and joyful in work and play.
Militarised Komsomol
- 1931-1933
- Canvas, oil, tempera. 198,5 х 276
- The State Russian Museum
- Ж-8235
In this large painting, Samokhvalov depicted the members of a youth communist organisation, who displayed their determination as a group as they were training in order to defend their country. Samokhvalov painted the picture to celebrate the 15th anniversary of the Red Army. The painter was impressed by what he saw at the shooting range: “there was a group of girls, lying down and improving their sniper skills. The bright and colourful clothes of these young people enhance the painting’s colours. The formation of the Komsomol members comes right at the spectator as the girl with a gas mask brings up the rear. There are studies for this painting: “Komsomol Youth” and “Girl at the Military School”.
Red Army Commanding Officers
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-53
Sentry
- Model of a statue
- 1933
- . 40 x 45 x 32
- The State Russian Museum
- СО/ПФ-1
Sherwood’s sculpture Sentry, executed at a time when the official Socialist Realism style was being formed and affirmed, has become somewhat of a metaphor in sculpture for the spirit of revolutionary romanticism. Sculpted using realistic but relatively generalised sculptural forms, and lacking specific portrait features, the figure embodied the collective image of a heroic soldier of the revolution, in accordance with the canons of the new style. Along with Vera Mukhina’s sculptural composition Worker and Collective Farm Woman, Sentry has become one of the most popular sculptural symbols of the Stalin era.
Shock Worker (Builder of Socialism)
- 1932
- Canvas, oil. 107 х 71,5
- The State Russian Museum
- ЖБ-2013
This portrait is not so much an attempt to depict the features and character of a specific person as to synthesise a perfect specimen of the new Soviet man. Assuming the status of an act of heroism, labour in the USSR is shown as a state of unceasing readiness to scale new industrial heights. This state is underscored by the youth’s posture and facial expression. The bird’s-eye view of an industrial landscape serves as a suitable background for this monumental figure and indicates the huge scale of socialist construction.
Youth
- 1932
- Canvas, oil. 110 х 83
- The State Russian Museum
- Ж-4418
The composition of this work relates it to the cycle of double portraits painted by Fyodor Bogorodsky in 1932, directly recreating or indirectly hinting at the subject of photography. The artist carries on indirect polemics with the increasingly popular genre of photography, demonstrating the unique possibilities of painting in the creation of an artistic image. This series of portraits opened a new stage in Fyodor Bogorodsky’s oeuvre, following a major one-man show in 1931. Sailors became the new heroes of his works. As Bogorodsky later recalled: “After the exhibition, I travelled to the Black Sea and spent six months on warships, infected by the cheerfulness and sparkling courage of the young sailors.” Youth can be regarded as the artist’s painterly tribute to his new friends.
В свиноводческом совхозе
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-319
Группа «Готовы к обороне»
- 1932, 1936
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-116
Группа «Готовы к обороне»
- 1932
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-115
Империалисты готовят нападение с моря. Усилим мощь обороны морских границ СССР
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-410
Комсомолец
- 1932
- Canvas, tempera. 142,5 x 64
- The State Russian Museum
- Ж-10396
Лыжница
- Canvas, oil.
- Луганский художественный музей
Нефтяные промыслы
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-186
Осоавиахимовка
- 1932
- Canvas, tempera. 120 x 116
- The State Russian Museum
- ЖБ-1787
Портрет тов. Слободчикова – инициатора Дня индустриализации СССР
- Canvas, oil.
- Смоленский государственный музей-заповедник
Портрет ударника (Краснознаменец Жарновский)
- 1932
- Canvas, oil. 64 х 55
- The State Russian Museum
- Ж-9402
Сервиз «Тракторный»
- 1932
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-19-24
Girl with a Ball
- 1933
- Canvas, oil. 55 х 46,5
- The State Russian Museum
- Ж-9187
Like many of Samokhvalov’s paintings, this intimate work creates the impression of a lost fresco fragment. The artist was convinced that modern life should be depicted in monumental forms, and took inspiration from the art of Antiquity, the Renaissance and Ancient Rus. He strove to embed the depicted moment into historical perspective, to underline its significance, to shroud it in a romantic aura. His models were for the most part young people, the embodiment of a splendid utopian future which they were called upon to create and inhabit. In the role of a dreamy young athlete Samokhvalov depicted his eldest daughter Maria.
Portrait of Sergei Yudin
- 1933
- Canvas, oil. 99 х 80
- The State Russian Museum
- Ж-1855
Sergei Sergeyevich Yudin (1891–1954): Surgeon. Member of the Academy of Medicine of the USSR (1944), winner of the Stalin Prize (1942, 1948) and the Lenin Prize (1962, posthumously).
Race
- Variant of the painting of the same name (1930, Galleria d’Arte Moderna di Ca’Pesaro, Venice)
- 1932–1933
- Canvas, oil. 229 х 259
- The State Russian Museum
- Ж-7741
The art of Alexander Deineka reflects the aspiration towards new forms of public life — labour, industry, sport, and images of the new citizen. Race contains all the main formal features of Alexander Deineka’s style — a montage-rhythmic structure of the composition, laconic tones, and an austere and graphic style of painting. Race combines concrete elements, generalisation, symbols, images, the spirit of romanticism, and notes of lyricism. Man personifies the motif of freedom and resolute integrity.
Self-Portrait (Artist)
- 1933
- Canvas, oil. 73 x 66
- The State Russian Museum
- ЖБ-1516
A growing predilection for figurativeness can be noted in Kazimir Malevich’s later works, particularly his portraits. Although this fascination might at first sight seem induced, it does not in actual fact contradict the internal disposition of an artist who «in the depth of his soul always remained a classic.» In Self-Portrait, Malevich depicts himself dressed in the attire of an Italian doge. His painterly devices are reminiscent of Renaissance frescoes. The artist underlines the reticent expression on his face, his majestic pose and the unusual gesture of the hand, more typical of the depiction of a saint in an icon than a self-portrait. All these details are, however, deliberate, leading us away from the characteristics of a concrete personality. Malevich therefore felt compelled to make the inscription Artist on the back of the canvas. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 344.
In this Self-Portrait from 1933, which Malevich titled Painter, the artist presents himself in the typical costume of an Italian Doge, which was the name given to the leaders of the maritime republics of Venice and Genoa. It is a costume with a rather geometric structure, and which combines the colors of black, white, red and green.
The positioning of his hand, as though he were holding an invisible book, sends a message to his successors and illustrates the key to gaining an understanding of Suprematism, in which true reality is a world without objects.
In a literary piece from the early 1920s, titled Painter, Malevich wrote the following epilogue: «The painter describes a world and shows it to the observer. The painter needs to be surrounded by things, because through him it is possible to discover new visions; a new symmetry in nature. The painter finds what we customarily refer to as ‘beauty’».
In this, his final self-portrait, Malevich presents himself as the Creator, the bringer of higher knowledge and liberty; a demiurge who governs the world according to his own rules; a painter who refuses be controlled by the irrational forces of the historical period in which he finds himself. As if to counter his own doubts and internal creative contradictions, his human imperfection and the miseries he experienced over the course of his life, Malevich is asserting his right to establish a posthumous myth of himself for his successors.
Malevich died in May 1935. His funeral ceremony and burial, organized by his followers and friends, constituted the last public act of Suprematism in Soviet Russia. The ceremony took place at the St Petersburg Union of Artists, where an exhibition of artworks took place while the satirical writer Daniil Ivanovich Kharms read poems. The funeral procession took place on Nevsky Prospect, which was then known as the 25th of October Prospect. Malevich’s coffin, which was designed in the Suprematist style, was laid on the open bed of a truck, with his Black Square painting displayed on the truck’s hood. After his cremation in Moscow, the urn containing Malevich’s ashes was buried in the village of Nemchinovka, near a solitary oak tree.
Above the final resting-place of Kazimir Malevich, the self-styled «President of the Universe», a tombstone was laid. It was designed by Nikolai Suetin, and was in the shape of a cube, decorated with the image of the painter’s Black Square.
Woman Worker
- 1933
- Canvas, oil. 70 x 58
- The State Russian Museum
- Ж-9494
A growing predilection for figurativeness can be noted in Kazimir Malevich’s later works and above all his portraits. His painterly devices are reminiscent of the Renaissance frescoes The artist underlines the reticent expression of the faces, the majestic poses and the unusual gesture of the hands, more typical of the depiction of a saint in an icon than a self-portrait. All these details are, however, deliberate and premeditated, leading us away from the characteristics of a concrete personality towards a generalized and synthetic image.
Автопортрет
- 1933-1934
- Canvas, oil. 93 х 66
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-568
Командир
- Canvas mounted on cardboard, oil. 25,5 х 18,5
- The State Russian Museum
- Ж-11524
Металлургический завод в Сталино
- 1933
- Canvas, oil. 82 × 62
- Донецкий республиканский художественный музей
- Ж-1922
Пионерка с горном
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-384
Портрет Н. Н. Пунина
- 1933
- Canvas, oil. 69 х 57
- The State Russian Museum
- ЖБ-1517
Рабочие завода «Серп и молот» в гостях у танкистов
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-64
Слушают доклад И. В. Сталина
- 1933
- Canvas, oil. 123 x 212
- The State Russian Museum
- ЖБ-962
Члены сельского хозяйства «Кызыл-Алтай» прорабатывают обращение центрального и краевого союза (работников) колхозников-ударников
- Paper, ink, nib.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Гр-1582
1919. Alarm
- 1934
- Canvas, oil. 169 x 138
- The State Russian Museum
- Ж-1269
This painting reflects both the real events of the siege of Petrograd by the forces of the White general Yudenich and the artist’s own personal memoirs: «I wanted to tell the tale of an episode from the terrible year of 1919.» The artist conveys the setting of a worker’s house and the state of its inhabitants, who stay up throughout the whole alarming night. The colour contrasts add tension to the painting. The artist employs the resolution to introduce significance into the genre scene, confirming without external pathos the stoicness of people when the hour of testing comes around: «I wanted … to convey the alarm of the historical scale of great experiences … I succeeded in loving the people depicted there.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 355.
Collective Farm Workers Talking
- Panel design for the People’s Commissariat of Agriculture
- 1934
- Canvas, oil. 128 x 176
- The State Russian Museum
- Ж-4436
Working on sketches for paintings for the People’s Commissariat of Agriculture building, Deineka travelled many times to villages and communal farms outside of Moscow, where he gathered material for his images. He chose to use a restrained aesthetic range, springing from the rich tradition of fresco painting that Deineka admired. In this case, the artist captured a brigade of collective farm workers listening, apparently, to their chairman.
Female Construction Worker
- 1934
- Canvas, oil. 96 x 67
- The State Russian Museum
- Ж-8192
In Soviet fine arts and cinematography, in agitprop and mass culture, it was women in particular who bore the image of “new people”. In depicting them, Alexander Samokhvalov unfailingly accentuated their distinction from women of previous eras, whose lives were built around their husbands, the home, and children. These new women were strong, socially active, liberated, and self-reliant, and Samokhvalov does not transform them into exclusively propagandistic symbols. In their images the artist’s personal affection combines fortuitously with ideological policies.
Female Workers on a Sponsored Ship of the Baltic Fleet
- 1934
- Canvas, oil. 201,5 x 300
- The State Russian Museum
- ЖБ-925
This painting was completed a year prior to the First Exhibition of Leningrad Artists, and was possibly painted specifically for it. The exhibition intended to demonstrate the successes of new Soviet art “on the road to mastering Soviet reality” (from the preface to the catalogue for the exhibition, which took place in the Russian Museum, Leningrad). The idea of sponsorship arose in Soviet ideology as one way of bringing “culture to the masses”, cultivating new individuals, and fostering healthy interaction between various societal groups. The romantic mood of this large canvas is reflected in the colour scheme: the shades of the red, blue, white, and ochre tones and that of the slightly agitated sea under the ship resonate with one another joyously, like the smiles on the faces of the people. The theme of the painting, necessitated by the demands of the historical era, is executed with the brush of a good painter, thus becoming a genre painting that reflects not only a real situation, but also the nature of Soviet art in the 1930s.
Joseph Stalin at Sergei Kirov’s Coffin
- 1934
- Canvas, oil. 271 x 208
- The State Russian Museum
- Ж-4490
In 1934 Rutkovsky headed a team of artists engaged in decorating the Beloostrov train station, the opening of which on 4 December was to be attended by Kirov, who followed the artists’ progress with interest, even helping them obtain hard-to-get paints for their work. However, Kirov was murdered in the halls of Smolny on 1 December. Many Soviet artists reacted with sadness to his death. In this hastily created painting Rutkovsky depicted the myth of the Soviet head of state’s leave-taking with the deceased. It’s unlikely that the artist knew of the rumors that soon appeared regarding possible political motives behind Kirov’s murder. He simply expressed a feeling of solemn grief, underscoring the great significance of the event. Pure red in contrast with white and black defines the somber resonance of this painting built on a strict rhythm of horizontals and verticals. The canvas is both a document of its age and a typical Socialist Realist work in which myth is transformed into reality through artistic mastery.
Maxim Gorky ANT-20
- Canvas, oil.
- The State Russian Museum
- ЖБ-1057
The painting “ANT-20 Maxim Gorky” by Vasily Kuptsov is the most significant work among the few ones that have been preserved. On a surge of general interest to the aviation, parachuting, aircraft modelling in 1920s-30s the artist suggested that the theme of aviation was one of the most important in art and dealt with the flight theme repeatedly. The work was painted in 1934 when the plane ANT-20 Maxim Gorky, the biggest one of that time, was constructed. The plane was supposed to to serve for agitation and propaganda. Under the wings of the gigantic plane escorted by the squadron of fighters and multicoloured parachutes one can see St.Peter and Paul Fortress and the Neva, the Spit of Vasilyevsky island and the Admiralty, the Winter Palace and Palace Square (called at that time Uritsky Square). Kuptsov was a spiritual disciple of Pavel Filonov and an keen propagandist of his analytical art. In a peculiar way the painting represents the Filonov’s conception of growing of the form that suggests that from small parts designed like a mosaic the majestic panorama of St. Petersburg – Leningrad appears.
Portrait of a Girl with a Book
- 1934
- Canvas, oil. 80 х 90
- The State Russian Museum
- ЖБ-1815
The painting depicts Serafima Ivanovna Lycheva (1906–1992), the artist’s energetic, purposeful, and strong-willed future wife. In late 1934 Alexander Deineka went off on a long trip abroad, visiting America, Paris, and Rome. Besides studies and sketches, he also sent long and detailed letters home to Serafima, sharing his impressions and thoughts. Deineka painted a portrait of Serafima on his return to Moscow, when “the end of his bachelor life was already in sight.”
Portrait of the Blacksmith S. Petran
- 1934. Study. From the Baltic Factory series
- 1934–1935
- Canvas, oil. 98 x 69
- The State Russian Museum
- ЖБ-1464
Every Soviet painter was expected to paint a major picture extolling the successful building of Communism in Russia in the early 1930s. In 1934, the Leningrad City Council commissioned Israel Lizak to paint a large work on an industrial theme for the First Exhibition of Leningrad Artists. Working at the Baltic and Red Vyborzhets Factories, the artist painted the interiors of the shopfloor and portraits of shock workers — steel founders and blacksmiths. Although the picture was never painted, the many studies for it, including the portrait of the blacksmith Petran, can be regarded as finished works in their own right.
Portrait of the Steel Founder Andrei Krylov
- From the Baltic Factory series. 1934–1935
- 1934
- Canvas, oil. 98 х 69,5
- The State Russian Museum
- ЖБ-1463
As in similar studies, the typical and the individual interact in the portrait of Andrei Krylov, steel founder and shock worker of the Baltic Factory, forming an aggregate of such psychological attributes as purposefulness, discipline, and seriousness.
Red Fleet Sailors
- 1934
- Canvas, pasted on cardboard, oil. 39 х 35
- The State Russian Museum
- Ж-11502
Boris Yermolaev painted an entire portrait gallery of sailors and Red Navy commanders in the first half of the 1930s. Entranced by the sea ever since he was a child, the artist combined his studies in studios of art with work as a sailor in the Commercial Port. An outstanding draughtsman, Yermolaev followed the traditions of naïve art in the 1930s, deliberately subordinating his artistic talent to this task. He worked in his studio after sketches from life, painstakingly depicting his characters whilst virtually depriving them of material reality. The condensed atmosphere of his painterly world is similar to the prose of Andrei Platonov.
Авиамоделисты
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-1185
Встречают челюскинцев
- 1934
- sanguine.
- The State Russian Museum
- РС-586
Девочка за партой
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-922
Каманин Н. П., герой Советского Союза
- 1934
- Paper, lithography.
- The State Russian Museum
- С.Гр.-920
Колхозный базар
- 1934
- Canvas, oil. 150 × 250
- Донецкий республиканский художественный музей
- Ж-227
Метростроевка, несущая арматуру
- 1934
- Paper, watercolours. 45,3 x 28,1
- The State Russian Museum
- РС-1602
Первые строители
- Paper, ink.
- Магнитогорская картинная галерея
- Г-270
Пионерская линейка
- 1934
- Paper, .
- The State Russian Museum
- С.Гр.-3629
Портрет О. Ю. Шмидта
- 1934
- Paper, .
- The State Russian Museum
- С.Гр.-4283
Портрет жены
- 1934
- Canvas, oil. 99,5 х 74,5
- The State Russian Museum
- Ж-9389
Портрет композитора С. С. Прокофьева
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-148
Портрет комсомолки Майи
- Canvas, oil.
- Луганский художественный музей
Портрет художницы Н. А. Лекаренко
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-2740
Предметы из чайного сервиза «Поход Челюскина»
- 1934
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-284-289
Стакан молока
- 1934
- Paper, watercolours. 45,2 x 28,2
- The State Russian Museum
- РС-1605
У бетоньерки
- 1934
- Paper, watercolours. 45,3 x 28,2
- The State Russian Museum
- РС-1603
У крана
- 1934
- Paper, watercolours. 45,1 x 28,2
- The State Russian Museum
- РС-1604
У лебедки
- 1934
- Paper, watercolours. 45,2 x 28,1
- The State Russian Museum
- РС-1601
Ударница на сенограбилке
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2156
Чернильница с крышкой «Физкультурницы»
- 1933-1934
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-141/а,б
Юные натуралисты
- 1934
- Paper, .
- The State Russian Museum
- С.Гр.-3626
Юным ленинцам большевистский привет
- 1934
- Paper, chromolithography. 69,9 х 96,2
- The State Russian Museum
- Гр.Пл.-661
All-Russian Festival of Labour on 1 May 1920
- 1935
- Canvas, oil. 150,5 х 252
- The State Russian Museum
- ЖБ-1829
Pyotr Buchkin depicts one of the first national Communist subbotniks in Leningrad. This picture was possibly painted for the First Exhibition of Leningrad Artists (1935), where the themes of labour and shock workers were virtually de rigeur. These working Saturdays, necessary during the civil war and accompanying economic crisis, later became a widespread movement. This one was dedicated to planting the first trees on Victims of the Revolution Square, as the Field of Mars was then known. But in this event the artist was attracted by the theme of modernity, shared holidays, and public festivities. The painting was created based on sketches and drawings from the actual event.
At the Stadium
- 1934–1935
- Canvas, oil. 121 х 140,5
- The State Russian Museum
- ЖБ-1723
Sport was one of the most popular themes in Soviet art in the mid-1920s and 1930s. Called upon to form the ideal of the new man, artists discerned its prototype in athletes — handsome young men and women perfecting their bodies and hardening the spirit. Sportsmen became the main characters of the works of Alexander Samokhvalov, who dreamt of uniting them in a grandiose monumental composition. Perhaps that is why so many of his paintings of this period are like details of a large, multi-figure fresco. The artist himself described sport as an “existential joy” helping people overcome difficulties “in the struggle for the creation of a new life” and furthering their “love for humankind”. “I loved sport as the culture of healthy, vivacious and joyful people… I was attracted to the healthy creative spirit in healthy bodies,” he wrote.
Komsomol Members at the Joseph Stalin Plant
- 1935
- Canvas, oil. 203 x 144
- The State Russian Museum
- ЖБ-995
The industrial process can be depicted as the confrontation of technology and humanity, unveiling the cruelty of the mechanised world, its unnaturalness, and sometimes its monstrousness. But it also can be shown as an organic interconnectedness between humanity and a “second reality”. The flexible indissolubility of industry and man, in control of the most complicated machinery, is reflected in Chugunov’s monumental canvas Komsomol Members at the Joseph Stalin Plant, exhibited at the First Exhibition of Leningrad Artists (1935, Leningrad).
On the Threshing Floor. Threshing
- 1935
- Canvas, oil. 192,5 х 294
- The State Russian Museum
- ЖБ-985
Osoaviakhim Stratosphere Balloon
- 1935
- Canvas, oil. 238 x 156
- The State Russian Museum
- ЖБ-1887
The Osoaviakhim-1 stratosphere balloon was launched on January 30, 1934. The balloon reached a height of 22 km, beating a world record. But in a few hours the flight ended in terrible tragedy. The cables attaching the basket broke, causing it to fall from a height of 2 km. All three crew members were killed. Flying to such a high altitude was foolhardy, as it significantly exceeded the device’s technical capabilities. The launch took place on the opening day of the 17th Congress of the All-Union Communist Party (Bolsheviks). The deputies at the congress were read a radio telegram from the crew sending greetings to the party and a report on the height reached. The tragic ending was only announced the following day. The stratonauts were declared heroes. Their ashes were interred in the Kremlin wall, with the heads of the party and the state taking part in the interment ceremony. After an investigation of the reason for the catastrophe, many experts who had taken part in the preparations for the expedition were shot. Osoaviakhim, or the Society for Assistance to Defence and Aeronautic-Chemical Construction, was a mass social volunteer organisation of Soviet Union citizens that existed from 1927 to 1948. All across the country, the organisation oversaw the founding of clubs and training facilities to prepare the population to defend the USSR. By 1928 the society already had 2 million members. Special pins, stamps, and posters were made to publicise Osoaviakim’s activities.
Sergei Kirov Reviews the Athletic Parade
- 1935
- Canvas, oil. 305 х 372
- The State Russian Museum
- ЖБ-1962
Sergei Mironovich Kirov (Kostrikov) (1886–1934): Communist arty functionary and member of he Soviet leadership. First secretary of the Communist Party in Leningrad (1926–34).
Following Sergei Kirov’s murder in 1934, a multitude of portraits and works on themes from his real and mythical biographies appeared in Soviet painting and sculpture. Alexander Samokhvalov painted a portrait of Kirov, Kirov on a Construction Site and his first ever large picture-panel — Sergei Kirov Receiving a Parade of Athletes. The artist had long dreamt of painting a multi-figure monumental picture resolved like a fresco. Work on the canvas lasted a long time. Striving to create a fresco-like effect, Samokhvalov experimented with colours, seeking decorative tones that would simultaneously be lifelike and natural. He finally chose a classical and solemn gamut of warm tones. The action takes place on Palace Square in Leningrad. The space is enclosed by the facade of General Headquarters with an enormous portrait of Lenin. The eyes of the athletes are rivetted on the figure of Sergei Kirov and other members of the Leningrad government on the rostrum. A group of girls break away from the main group to hand Kirov a bouquet of flowers.
The concept and painting of the panel reflect the main tendencies in the Soviet art of the 1930s. This was an aspiration towards monumentality and an image of the new Soviet citizen — a labourer, hero and romantic, morally and physically strong and handsome. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 349.
Spring
- Canvas, oil. 185 х 156,5
- The State Russian Museum
- ЖБ-1272
Kuzma Petrov-Vodkin was a remarkable painter and an innovator in painting. He took an interest in Early Renaissance and Russian icon painting, the result of which is considered to be the development of the “spherical perspective” (the artist himself avoided using the term “spherical perspective” and changed it for “live visibility”). In his autobiographical novels “Khlynovsk” and “Euclid’s Space” (late 1920s – early 1930s) he talks about the forming of the “spherical perspective” and gives its philosophic understanding. It is based on children’s impressions and personal experiences: “... here on a hill while I was falling down on the earth a completely new impression of the landscape flashed though my eyes ... I saw the Earth like a Planet ... a whole new feeling of a sphere embraced me on that hill.( Kuzma Petrov-Vodkin. “Khlynovsk”. “Euclid’s Space”. “Samarkandia”. Leningrad, 1982).
The principle of the spherical perspective is vividly represented in the composition of the painting “Spring”. Here the artist gives a compelling impression that the Earth is a Planet. In his mind, our perception of the space is invariably connected with the fact of our being on a spherical planet and it should be shown in a work of art. The abrupt twist of fore and backgrounds gives the “effect of presence” of a viewer inside, in the midst of the scene depicted. Arranging the composition with inclined axes causes the feeling of the rotation of the Earth – the artist is suggesting that all these elements represent the experience of being on the planet.
В метро
- Canvas, oil.
- Ярославский художественный музей
- Ж-1488
Вузовка
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-2542
Девушка в красном берете
- Canvas, oil.
- Смоленский государственный музей-заповедник
Девушки-ковровщицы
- 1935
- Canvas, oil. 60 х 50
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-522
Знак нагрудный "Юный Ворошиловский стрелок"
- 1930-40s
- Bronze, enamel. 32 x 26
- The State Russian Museum
- Мед.А-20815
Знак нагрудный "Юный железнодорожник"
- 1930-40s
- Enamel. 39 x 28
- The State Russian Museum
- Мед.А-20840
К. Э. Циолковский
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-450
Ковровщицы
- 1935
- Canvas, oil. 60,5 х 51
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-512
Ленинградский порт. Лесоэкспортная механизированная гавань
- 1935
- Canvas, oil. 200 х 297
- The State Russian Museum
- Ж-4486
Москва. Советская площадь
- 1935
- Canvas, oil. 105,5 × 137,5
- Донецкий республиканский художественный музей
- Ж-21
На страже
- 1930-1940
- Canvas, oil. 70,1 х 47
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Новые улицы
- 1935
- Canvas, oil. 55 × 65
- Донецкий республиканский художественный музей
- Ж-1602
Парижанка
- Canvas, oil.
- The State Russian Museum
- Ж-6739
Переход Красной армии через Сиваш
- Canvas, oil.
- Симферопольский художественный музей
- Ж-492
Пионервожатая
- Canvas, oil. 89 х 71
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Пионерка
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-127
Портрет Вари Шитаковой
- 1935
- Canvas, oil. 90 х 70
- The State Russian Museum
- ЖБ-1884
Портрет Е. П. Самохваловой
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1489 АОМИИ
Портрет С. И. Л. в соломенной шляпе
- 1935
- Canvas, oil. 82 х 60,5
- The State Russian Museum
- ЖБ-1813
Портрет летчика (Молоков)
- Paper, .
- The State Russian Museum
- С.Гр.-132
Принятие декрета о создании Рабоче-крестьянской Красной Армии
- 1935
- Canvas, oil. 256,5 х 390
- The State Russian Museum
- Жб-1987
С. М. Киров с детьми
- 1930s
- Paper, , .
- The State Russian Museum
- С.Гр.-8941
Сбор хлопка
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-386
Сбор ягод
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-623
Советская физкультура
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-683
Чернильница «Учеба»
- 1935
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-60/а,б,в
Kavgolovo Ski Jump
- 1936
- Canvas, oil. 120 x 90
- The State Russian Museum
- ЖС-1851
The Toksovo-Kavgolovo district near Petersburg (Leningrad) is the true ski center of the Karelian Isthmus. A great number of sporting facilities are located here, including the famous Kavgolovo Ski Jumps and many international-class ski trails. A natural slope around 40 to 50 meters high and extending for several kilometers forms the basis for the downhill ski trails. This is a very small slope by European standards, but thousands of Leningraders of all ages learned and perfected the basics of alpine skiing on it, some achieving the heights of mastery.
Portrait of Joseph Stalin
- 1936
- Canvas, oil. 99 х 67
- The State Russian Museum
- Ж-9590
Vladimir Lenin at the Second Congress of Soviets Among Peasant Delegates
- 1935–1936
- Canvas, oil. 236 х 186
- The State Russian Museum
- Ж-6149
Gerasimov’s painting depicts the historical congress that ratified the Decrees on Peace and Land and proclaimed the transfer of all power in the country to the Soviets of Workers’ and Peasants’ Deputies. Lenin talks with the delegates about the transfer of landed estates to the peasantry. The event’s significance is expressed by the deep seriousness with which the peasants hearken to Lenin’s words. The muted colours of the sheepskin coats, soldiers’ overcoats and sailors’ pea jackets resonate with a unique virile harmony in the Smolny Institute’s enormous bright assembly hall.
Вручение акта на вечное пользование землей
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2213
Выходной день в колхозе
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
Группа «Колхозный молодняк»
- 1936
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-61
Девочка-планеристка (Девочка с авиамоделями)
- 1936
- Canvas, oil.
- The State Russian Museum
- ЖС-413
Колхоз в Армении
- 1936
- Canvas, oil. 127 x 100
- The State Russian Museum
- Ж-9071
Перед экзаменами
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2206
Портрет пионера – отличника учебы Вити Петрова
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-27
Портрет стахановки Гладковой с дочерью
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2195
Премирование
- Oil, canvas.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-440
Премирование ударниц-текстильщиц фабрики «Красная роза»
- Cardboard, oil.
- Тверская областная картинная галерея
- Ж-2693
Рабочий и колхозница
- Bronze.
- The State Russian Museum
- СО-724
Собрание колхозников в Аносе Чемальского аймака
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-201
Советские хлебы
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-225
Старатели пишут письмо творцу Конституции И. В. Сталину
- Canvas, plywood, oil.
- Смоленский государственный музей-заповедник
Строительство школы
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1010
Чемальская гидростанция
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-194
Юная натуралистка
- 1935-1937
- Canvas, oil.
- The State Russian Museum
- ЖБ-1755
Collective Farm Holiday
- 1937
- Canvas, oil. 188 x 307
- The State Russian Museum
- Ж-5699
Arkady Plastov’s Collective Farm Holiday depicts the harvest celebrations at a Soviet collective farm. The festivities are not among those introduced by the Communist authorities; this is one of the traditional Russian folk holidays marking the most important events in the annual cycle of life. The villagers have brought in the harvest; now it is time to reap the fruits of their labours. Nature has been kind and lavishly rewarded their efforts. The banner crowned by the portrait of Joseph Stalin claims that «life has become better, life has become fun.» This is a token of the Soviet period and Communist propaganda, transferring the traditional folk festival beyond the bounds of a concrete village into a national celebration.
Arkady Plastov painted this picture after making a series of studies of fellow villagers. He was born and spent most of his life in the village of Prislonikha near the town of Ulyanovsk. The artist devoted his entire oeuvre to the rural theme. The heroes of his paintings are real people of the 1930s, recorded for posterity in the master’s poetic and sincere images. The idealised image of abundance and festivities was an official requirement of Soviet art in the 1930s. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 350.
Female Metro Builder with a Drill
- 1937
- Canvas, oil. 205 х 130
- The State Russian Museum
- Ж-7565
Endowed with a sharp feeling of modernity, Alexander Samokhvalov aspired to be in the epicenter of life, discerning the romantic pathos of creation in the leading events of the day and age. Construction of an underground railway in the mid-1930s was an exciting new topic, discussed at length across the country and even lauded in popular songs. Samokhvalov long dreamt of depicting the female construction workers in a monumental mural. In 1937, he painted an oil painting on the basis of an earlier watercolour.
The large generalised planes and laconic tones help the artist to achieve a monumental plastic image. This fresco-like portrait exudes strength, clarity, beauty, mental and physical health, inspiration and aspiration. Alexander Deineka characterised the heroine of Underground Worker with a Drill as «like a goddess, yet nevertheless our own Russian gal.» Samokhvalov was clearly orientated on classical art. The worker’s athletic figure, posture, crossed legs and the drapery liken her to a Greek or Roman goddess. Working on his «underground workers» and focussing on frescoes, Samokhvalov passed through a period of interest in Michelangelo, whom he regarded as a «truly great revolutionary artist, whose works realized the ideal of democracy — the harmony of the power of the spirit and the power of the body.» The «new man» in the image of Soviet womanhood was a popular theme in the art of the 1930s. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 350.
Leader, Teacher and Friend (Joseph Stalin at the Presidium of the Second Congress of Collective Farm Shock Workers in February 1935)
- 1936–1937
- Canvas, oil. 340 x 260
- The State Russian Museum
- Ж-5613
The painting was exhibited for the first time at the grandiose Industry of Socialism exhibition held concurrently with the 18th Bolshevik Party Congress. The event it depicts is the Second Congress of Collective Farm Shock Workers of February 1935, which ratified the Rules of the Agricultural Artel and proclaimed “socialism’s complete victory in the countryside”. The artist depicted a real episode that took place at that congress, as reported by the press: Stalin visits as one among equals with ordinary collective farm worker Ev do kia Fedotova, head of the machine and tractor station at the Renewal Collective Farm in Lenin grad Region. Fedotova, also immortalized in a portrait by Sofya Dymshits-Tolstaya (illus. 14), chaired the session on that day. On the rostrum is the cotton shock worker Tashlanova from Uzbekistan. Her figure in colourful national attire, along with those of a young Turkmen woman in a white scarf and Uzbek party leader Aga Yusup Aliev, which frame the composition, are the artist’s tribute to a favourite theme: Shegal worked much and with great enthusiasm during field trips to the Soviet Union’s Central Asian republics, and in this way he enriched his painting’s subject with the theme of friendship among nations. The prominence of female images in the work is also no accident, as female agricultural shock workers made up a record number of the congress’ delegates. Thus the artist documents the country’s progress on the path to women’s equality. Critics noted a certain monotony in the treatment of the composition’s upper region, which is occupied by a flat wall. Yet it is here that we find a sculptural image of Vladimir Lenin looming over the events occurring below. This element of the hall’s interior allowed the artist to denote the Soviet state founder’s unseen presence at the congress using realistic means. Lenin’s dominant place in this large-scale painting prompted contemporaries to speculate on the distribution of roles in the triune formula “Leader".
Meeting of a Factory Party Committee
- 1937
- Canvas, oil. 240 x 350
- The State Russian Museum
- ЖБ-967
Depicted is the moment when a factory partkom (party committee) considers the acceptance of a new member into the party. This was a responsible step for the young applicants, who were questioned by their elder comrades to ascertain their conformity with the party’s ideological and ethical norms. Awarded an honorary prize at the Industry of Socialism exhibition in 1937, the painting became an important milestone in Lukomsky’s oeuvre. The work revealed the artist’s talent as a portraitist. All the meeting’s participants are expressive types, each with their own character, mood and life story. Lukomsky continued employing this principle in his later paintings, most of which are group portraits of representative character types united by a generic or historical subject.
Prospectors Writing a Letter to the Creator of the Great Constitution
- 1937
- Canvas, oil. 249 х 500
- The State Russian Museum
- Ж-5848
The painting was created for the Industry of Socialism exhibition, the main event in the USSR’s artistic life in 1939. Back in 1935 the party had set the goal of reflecting industrial achievements in fine artworks, stipulating that their main subjects should be “not machines but people educated by the party of Lenin and Stalin to master technology and place machines at the service of socialism”. A “thematic exhibition plan” was published, i. e. strict instructions for artists regarding desired subjects and their permissible interpretation. Among them were five themes connected with Lenin, ten with Stalin and two with Ordzhonikidze. In addition, artists were given specifically formulated tasks to depict the country’s newly-transformed cities and regions, the might of the Red Army’s heavy armaments, the power of Soviet metallurgy and so forth. Vasily Yakovlev was requested to take up the gold prospecting theme and go the Urals to study it. In the Valeryanovsky gold fields in Sverdlovsk Region the artist found the prototype for his composition, which shows a picturesque group of prospectors under the rays of the blinding sun engaged in an animated debate over a letter to Joseph Stalin they’re writing in response to the leader’s appeal to fulfill a gold production plan. The composition is marked by the distinct documentary verisimilitude that typifies Socialist Realist art as a whole. At the same time, the event’s romantic and high-spirited atmosphere fulfils a propagandistic role. Yet hidden behind the mythologized sense of workers’ enthusiasm masterfully created by this major artist lies the back-breaking reality of the gold miners’ labour.
Sergo Ordzhonikidze
- Cast in 1941
- 1937
- Bronze. 250 х 145 х 97
- The State Russian Museum
- СО-94
Grigory Konstantinovich Ordzhonikidze (1886–1937) was a Soviet government and party figure. He was the Chairman of the Supreme Council of the National Economy (from 1930), People’s Commissar for Heavy Industry (from 1932), member of the Central Committee Politburo, and member of the All-Russian Central Executive Committee and the USSR Central Executive Committee.
Ordzhonikidze was one of the so-called “Old Bolsheviks” — partisan activists that were present at the beginning of the Russian Revolution of 1917 and subsequently held leading positions in the new governmental hierarchy. This portrait is a typical depiction of a “leader” in the traditions of Socialist Realism. This is already evident in the title of the work: Sergo was Ordzhonikidze’s party alias, under which Ordzhonokidze was mythologized in Soviet “iconography” as a close comrade-in-arms of Lenin and Stalin. The scale of the sculpture and the figure’s energetic, forceful gestures, as if he were giving a speech to a crowd, create the image of a leader endowed with extraordinary human qualities and phenomenal moral strength.
University Student
- 1936–1937
- Canvas, oil. 97 x 66
- The State Russian Museum
- Ж-10395
The painting depicts a female student in the process of obtaining a higher education. M. Fomicheva, a classmate of the artist’s daughter Maria, was the model.
Worker and Collective Farm Woman
- Model for the sculptural group in the Soviet Pavilion at the World Exhibition in Paris. Cast in 1965
- 1937
- Bronze. 84,5 x 43 x 57
- The State Russian Museum
- СО-797
Авиамоделисты
- Canvas, oil.
- Ярославский художественный музей
- Ж-519
Билет Государственного Банка СССР, достоинством в 1 червонец
- 1937
- .
- The State Russian Museum
- Бум.А-6988
Билет Государственного Банка СССР, достоинством в 10 червонцев
- 1937
- .
- The State Russian Museum
- Бум.А-3286
Билет Государственного Банка СССР, достоинством в 3 червонца
- 1937
- .
- The State Russian Museum
- Бум.А-6989
Билет Государственного Банка СССР, достоинством в 5 червонцев
- 1937
- .
- The State Russian Museum
- Бум.А-6990
В доме отдыха. Алупка
- Canvas, oil.
- Ярославский художественный музей
- Ж-236
Водная станция
- Canvas, oil.
- Ярославский художественный музей
- Ж-2062
Группа «Папанинцы»
- 1937
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-124
Колхозный той
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-385
Косогорский металлургический завод. Перед сменой
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-625
Лоток письменного прибора «Обсуждение Сталинской конституции в колхозе Узбекистана»
- 1937
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-130
Мама прилетела
- 1937
- Canvas, oil. 130 × 120
- Донецкий республиканский художественный музей
- Ж-231
Метростроевка у бетоньерки
- Canvas, oil, tempera.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-261
Морской флот - могучий страж водных рубежей
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-229
Москва. 1937 год.
- Canvas, oil.
- Смоленский государственный музей-заповедник
На боевом участке
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2197
Обеденный перерыв
- Canvas mounted on cardboard, oil.
- Alexander Radishchev Art Museum, Saratov
Пионеры на собрании
- Canvas, oil.
- Тамбовский областной краеведческий музей
- КП №7647
Портрет В. М. Абалакова
- 1937
- plywood, canvas, oil. 55 х 45
- The State Russian Museum
- ЖС-789
Портрет доярки (Бригадир совхоза Торосово Лилля Тамман)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2155
Портрет летчика М. М. Громова
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1255
Премия (Донбасс)
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-589
Прибор для карандашей и перьев от письменного прибора: «Обсуждение Сталинской конституции в колхозе Узбекистана»
- 1937
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-129
Рабфаковка с портфелем
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-613
Рыбацкий колхоз на реке Шексне
- Canvas, oil.
- Ярославский художественный музей
- Ж-251
Стахановцы
- Canvas, gouache.
- Тверская областная картинная галерея
- Ж-63
Чернильница от письменного прибора: "Обсуждение Сталинской конституции в колхозе Узбекистана"
- 1937
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- СФ-127/а,б,в,г,д
Ысыах
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1107
Электросварщицы Сормова
- Canvas, oil.
- Ярославский художественный музей
- Ж-237
Artists of the Konstantin Stanislavsky Theatre Meeting Students of the Nikolai Zhukovsky Air Force Academy
- 1938
- Canvas, oil. 297,5 x 375,5
- The State Russian Museum
- Ж-5602
The canvas was painted by Efanov for the exhibition 20 Years of the Workers’ and Peasants’ Red Army and Navy and then displayed at the New York World Exhibition in 1939. Among the depicted guests are many well-known performing artists of the day in addition to aviators and Konstantin Stanislavsky himself. The appearance in Efanov’s oeuvre of a group portrait of stage performers is no accident: the artist was an actor and lifelong theatregoer himself, and his wife was an actress at the Stanislavsky Theatre. And though Efanov abandoned the stage in the mid-1930s, the theatre remained dear to him. The event portrayed in the painting took place on 22 December 1935 in Stanislavsky’s apartment studio. The artist began work on the canvas in 1937, finishing it a year later, after the great di rector’s death. Depicted in the composition are thirty-eight people, all painted by the artist from life. In his autobiography Efanov recalls: “I painted the performers and aviators directly from life. They posed for long stretches at a time, sometimes at night. All the painting’s details — the still life on the table, the chairs and the enormous carpet — were also painted from life.” Efanov also met with Stanislavsky numerous times, studying his character, bearing and gestures and making many sketches and studies. The multi-figure composition is masterfully arranged and the interior and festive still life on the table painted freely and broadly, without distracting attention from the scene’s main action. The composition’s semantic focus is the director’s standing figure, towards which all present are turned. The theatre headed by Stanislavsky and bearing his name enjoyed sponsorship over the Nikolai Zhukovsky Air Force Academy, whose members are also present in the scene, demonstrating the mutual relations between different social strata. In full accord with the ideological demands of its time, the painting was intended to illustrate the idea of the beauty and dignity of the era’s new people and underscore the notion that true social unity was possible only within a socialist society.
Evdokia Fedotova, Chairwoman of the Second Congress of Collective Farm Shock Workers
- 1935–1938
- Canvas, oil. 121 х 79
- The State Russian Museum
- Ж-7497
After a short period of bold experimentation during the late 1910s and early 1920s, Sofya Dymshits-Tolstaya’s creative work entered a period of working with realist painting. From 1925 to 1935, Dymshits-Tolstaya managed the art section for the magazines Woman Worker and Peasant Woman, and as a result found herself at one of the epicentres of formation of the concept of the new Soviet woman. She made a whole series of portraits of “new women”: agitators, shock workers, and social activists on collective farms. In her memoirs, the artist wrote: “Evdokia Sergeyevna Fedotova had a severe face, with a touch of iconlike rapture in it, and she was intelligent and strong-willed. [...] When I began working I asked her what she would like to have in the painting. She replied that she should definitely be pictured with the minutes of the kolkhoz shock workers’ congress [...]”.
Portrait of Isaac Brodsky
- 1938
- Canvas, oil.
- The State Russian Museum
- Ж-5685
Portrait of Sergei Kirov
- 1937–1938
- Canvas, oil. 118 х 98
- The State Russian Museum
- Ж-4451
Sergei Mironovich Kirov (Kostrikov) (1886–1934): Communist Party functionary. Member of the Tomsk Committee of the Russian Social Democratic Workers Party (1905–1907). Fought in Astrakhan during the Civil War (1919). First secretary of the Leningrad branch of the Communist Party (1926–1934). After Kirov’s death many Soviet artists turned to subjects connected with him. This political figure had enjoyed great authority in Leningrad during his lifetime, and after his mysterious death he acquired the traits of a mythological hero. Zverev painted state-commissioned portraits of Kirov numerous times. In this one the artist shows the wellknown statesman and Leningrad party leader as a charismatic yet down-to-earth human being, which contradicted the requirements of Socialist Realism.
Боевые трубы РККА
- Canvas, oil.
- Смоленский государственный музей-заповедник
Бойцы за учебой
- Paper, lithography.
- The State Russian Museum
- С.Гр.-4944
Будёныш
- 1938
- . 119 x 43 x 48
- The State Russian Museum
- СО-2911
В магазине
- Canvas, oil.
- Луганский художественный музей
В. И. Ленин и И. В. Сталин в Горках в 1923 году
- 1938
- Canvas, oil. 101 x 75,5
- The State Russian Museum
- Ж-6144
Выборы в Верховный Совет
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 304
Государственный казначейский билет СССР, достоинством в 3 рубля. 1938
- 1938
- .
- The State Russian Museum
- Бум.А-3289
Государственный казначейский билет СССР, достоинством в 5 рублей
- 1938
- .
- The State Russian Museum
- Бум.А-3290
Государственный казначейский билет, достоинством в 1 рубль
- 1938
- .
- The State Russian Museum
- Бум.А-262
Лыжники
- Paper, etching.
- Нижнетагильский музей изобразительных искусств
- Г-101
Маёвка на Волге
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-3363
Медаль «За боевые заслуги»
- 1938
- Silver, enamel, .
- The State Russian Museum
- Мед.А-3392
Медаль «За отвагу»
- 1938
- Silver, enamel, .
- The State Russian Museum
- Мед.А-4430
Освобождение политзаключенных из Омской тюрьмы 19 ноября 1919 г.
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-779
Счастливое материнство
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 147-146ж
"В школу"
- 1939
- Paper, .
- The State Russian Museum
- С.Гр.-9748
Collective Farmers at Ivan Michurin’s (Horticulturists Visiting Ivan Michurin)
- 1939
- Canvas, oil. 236 x 300
- The State Russian Museum
- Ж-6766
Female Delegates
- 1939
- Canvas, oil. 139 х 98
- The State Russian Museum
- Ж-4420
Alexander Samokhvalov’s picture-portrait is closely in line with the much-trumpeted theme of “friendship of the peoples” popular in film and song. Depicted in close-up, against a background of the other female delegates, a blonde Russian girl and a dark Muslim beauty are symbols of this friendship. The festive atmosphere is underscored by the smiling faces and the ringing colour combinations, dominated by tones of red.
Portrait of Alla Tarasova
- 1939
- Canvas, oil.
- The State Russian Museum
- Ж-5939
Portrait of Vladimir Lenin
- 1939
- Lithography. 44 х 29
- The State Russian Museum
- С.Гр.-1015
Знак нагрудный «Отличник РККА»
- 1939
- Bronze, enamel.
- The State Russian Museum
- Мед.А-3624
Знатные люди Страны Советов
- 1939
- Canvas, oil. 900 х 1620
- The State Russian Museum
- Ж-6803
Красное Сормово
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-134
Мамлакат Нахангова – юная стахановка хлопковых полей
- 1937-1940
- . 44 х 26 х 23
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- С-50
Медаль «Золотая Звезда» Героя Советского Союза
- 1939
- Gold, .
- The State Russian Museum
- Мед.А-20890
Пионерка Азербайджана
- 1939
- Porcelain, . 24 x 8 x 7
- The State Russian Museum
- СО-1903
Письмо
- 1939
- Canvas, oil. 100 x 79
- The State Russian Museum
- Ж-5676
Праздник на Неве
- Paper, lithography.
- The State Russian Museum
- С.Гр.-16247
Утро испанских пионеров в летнем лагере
- 1939
- Canvas, oil. 208 x 331
- The State Russian Museum
- Ж-9199
Фигура «За чтением». Портрет художницы Елены Яковлевны Данько
- 1939
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- СФ-950
Физкультурный парад
- 1939
- Canvas, oil.
- The State Russian Museum
- Ж-6804
Joseph Stalin and Kliment Voroshilov in the Kremlin
- 1940
- Canvas, oil. 147 x 190
- The State Russian Museum
- ЖБ-2072
This work is a vivid example of the personality cult in Soviet art. The depiction of Stalin and People’s Commissar of Defence Voroshilov strolling near the Kremlin walls symbolized the preparedness of army and government to defend the country. The leaders rise above a spacious panorama of Moscow in a manner likening them to the bogatyrs of Russian fairy tales and legends. Originally entitled Guardians of Peace, the painting became widely known and was copied and reproduced many times. This copy created by Yury Vasilyev from Alexander Gerasimov’s original painting (1938, Tretiakov Gallery) is smaller than the original, but its reverse side bears Gerasimov’s signed certificate and approval.
Sergei Kirov in Astrakhan in 1919
- Caspian expedition
- 1940–1949
- Canvas, oil. 290 x 498
- The State Russian Museum
- Ж-2411
А. Н. Толстой в гостях у художника
- 1940–1941
- Canvas, oil. 142 х 168
- The State Russian Museum
- Ж-8647
Комсомол - шеф над Красным флотом. 75% флота - комсомол
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1394
М. И. Калинин на вагонном заводе
- plywood, pavoloka, gesso, tempera.
- Тверская областная картинная галерея
- Ж-2610/1
Мастера урожаев
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-67
Портрет А. Н. Толстого
- 1940
- Canvas, oil. 105 x 98
- The State Russian Museum
- Ж-5605
Портрет Героя Советского Союза А. С. Осипенко
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-184
Портрет заслуженного деятеля искусств, лауреата Сталинской премии Н. С. Самокиша
- Canvas, oil.
- Симферопольский художественный музей
- Ж-55
Почта пришла
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1146
Появление В. И. Ленина на II Всероссийском съезде Советов
- 1940
- Canvas, oil. 385 х 355
- The State Russian Museum
- Жб-1947
Юные судостроители (Флотилия)
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-1260
Portrait of Andrei Yumashev
- 1941
- Canvas, oil. 140 х 111
- The State Russian Museum
- Ж-5601
Andrei Yumashev (1902–1988) was a legendary fighter pilot who flew across the North Pole from Moscow to the United States, setting a world record for a non-stop direct flight with flight commander Mikhail Gromov and Sergei Danilin. He was awarded the title of Hero of the Soviet Union in 1937. As a boy, Andrei Yumashev had been interested in art. He attended the courses of the Society for the Encouragement of Artists and was later a friend of Ilya Mashkov, Robert Falk and Pyotr Konchalovsky. The pilot made sketches and painted portraits in the 1920s. Yumashev’s military career began at the age of sixteen, when he volunteered for the Red Army. He then became an air cadet and flew in the Winter War against Finland. The commander of a squadron of fighters during the Second World War, Yumashev paid occasional visits to Pyotr Konchalovsky in Moscow, where the artist painted his portrait. What’s more, Konchalovsky gave the aviator a canvas, brush and paints and he in turn painted a portrait of the artist. Later vice-commander of the First and Third Air Force on the Western Front, Yumashev fought at the Battle of Kursk in 1943. Major general of the Soviet Air Force (1943). After the war, he was transferred to the reserve and joined the Union of Artists in 1946. Andrei Yumashev was not only a professional pilot, but also a highly cultured individual. The portrait depicts his energy, strength, dignity and confidence. The style of painting and the very texture is energetic.
В помощь фронту
- Metal.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- Инв. № 6213-218-с
Портрет писателя К. А. Тренева
- Canvas, oil.
- Луганский художественный музей
Родина-мать зовет
- Paper, chromolithography.
- The State Russian Museum
- Гр.пл.-2299
Defence of Sebastopole
- 1942
- Canvas, oil. 200 x 400
- The State Russian Museum
- ЖБ-954
The picture was painted in 1942, during the height of the Second World War. The artist wrote: «I was in the war and saw the battles and many grave and heroic episodes. For some reason, I decided to paint Defence of Sebastopole, although I did not see the resistance of the city; I only heard the tales about the defence. Why did I paint this work? I love Sebastopole, a town I often visited before the war, on ships and cruisers … When I saw photographs of the ruined town, I realized that I had to paint this picture. When I was working on it, I experienced everything for real and put my whole heart into it.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 355.
Hymn To October
- Canvas, oil.
- The State Russian Museum
- Ж-5846
Hymn to October depicts the ceremonial sitting of the Moscow deputies of workers with representatives from Party and public organizations in Moscow on 6 November 1942. Among the representatives of the cultural intelligentsia are Igor Grabar (1871–1960), Alexander Gerasimov (1881–1963), Solomon Mikhoels (Vovsy) (1890–1948), Vladimir Nemirovich-Danchenko (1858–1943), Alla Tarasova (1898–1973), Alexei Tolstoy (1882/1883–1945), Kornei Chukovsky (1882–1969) and Dmitry Shostakovich (1906–1975). Painted during the Second World War, this canvas acquired a particular significance. The triumphant red tones helped to inspire confidence that the country would emerge from the war victorious. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 355.
Portrait of Maria Petrova
- 1942
- Canvas, oil.
- The State Russian Museum
- Ж-10941
Maria Grigorievna Petrova (1906–1992): Leningrad radio artist. People’s Artist of the RSFSR (1978). Wife of the artist.
Maria Petrova worked as a political instructor at the House of Radio in Leningrad during the war. A member of the civil defence team of the Leningrad Radio Committee, she helped to save people from under the rubble of destroyed houses. From 1942 onwards, she performed at the Maxim Gorky Theatre of Drama, recreated during the war and known as the legendary Blockade Theatre. Petrova’s voice inspired the citizens of Leningrad both during the siege and after the war. She worked on the radio for a total of fifty-six years.
Once, during the Siege of Leningrad, Maria Petrova exchanged her bread ration for a collection of poems by Alexander Pushkin. Thirty years later, she presented the book to the poet Sergei Davydov, who dedicated the poem A Gift to her:
Slim volume of poetry, so few like you:
Exchanging her last dry slices of bread
For a collection of Pushkin’s verses
In the hungry winter of ’41...
Maria Petrova was a regular wartime visitor to the Union of Artists, where she read out the stories of Vladimir Korolenko. Her future husband, Yaroslav Nikolaev, made sketches of her while she was reading. The image in the portrait is both touching and inspired. The harmony of the light-pink and white tones of the clothes and the softly painted background is natural and beautiful. The notes of lyricism in the sitter’s outer appearance and the painterly resolution are particularly distinctive in comparison with such other works by the artist as Self-Portrait and Portrait of Vasily Vikulov.
Portrait of Partisan V
- 1942
- Canvas, oil. 101 х 83
- The State Russian Museum
- Ж-5588
The painting depicts Dmitry Ivanovich Vlasov, an engineer at the Dubrovka Wood Processing Factory who commanded the 164th Vsevolozhsk Partisan Detachment from 1941 onwards.
Автопортрет
- 1942
- Canvas, oil. 62 х 48
- The State Russian Museum
- Ж-7940
Бой под слободой Стрелецкой
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-288
В. И. Ленин и М. А. Горький в Горках
- Canvas, oil.
- Самарский областной художественный музей
- Ж-470
Везут в стационар
- Bronze.
- The State Russian Museum
- СО-83
За водой
- Canvas, oil.
- The State Russian Museum
- Жб-1765
Знак нагрудный «Гвардия»
- 1942
- Bronze, enamel.
- The State Russian Museum
- Мед.А-4457
Знак нагрудный «Отличный артиллерист»
- 1942
- Brass, enamel.
- The State Russian Museum
- Мед.А-3807
Знак нагрудный «Отличный танкист»
- 1942
- Brass, enamel.
- The State Russian Museum
- Мед.А-4589
Знак нагрудный «Снайпер»
- 1942
- Brass, enamel.
- The State Russian Museum
- Мед.А-4591
Медаль наградная «За оборону Ленинграда»
- 1942
- Bronze, .
- The State Russian Museum
- Мед.А-3750
На Сталинградский фронт
- Canvas, oil.
- Самарский областной художественный музей
- Ж-745
На эскалаторе. Московское метро
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-1409
Облигация на сумму 500 рублей Государственного военного займа
- 1942
- Paper.
- The State Russian Museum
- Бум.А-16336
Орден Александра Невского
- 1942
- Silver, enamel.
- The State Russian Museum
- Мед.А-5294
Орден Отечественной войны I степени
- 1942
- Gold, silver, enamel.
- The State Russian Museum
- Мед.А-3973
Партизанский отряд (Лесгафтовцы)
- Canvas, oil.
- The State Russian Museum
- Ж-5573
Портрет И. А. Орбели в кабинете в Эрмитаже
- Lithography.
- The State Russian Museum
- С.Гр.-9749
Портрет полярного летчика М.В. Водопьянова
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Инв. Ж-2883 АОМИИ
Портрет скульптора В.П. Акимова
- Canvas, oil.
- Самарский областной художественный музей
- Ж-472
Портрет художника А. А. Блинкова
- Canvas, oil.
- The State Russian Museum
- Ж-4426
A Partisan’s Mother
- Study for the painting of the same name (1943, Tretyakov Gallery)
- 1943
- Canvas, oil. 113 х 84,5
- The State Russian Museum
- Ж-4414
When creating this painting, the artist didn’t have any particular woman in mind but rather all Russian women who’d replaced their husbands and sons in the fields after the latter had gone off to war. These women endured and survived under wartime conditions thanks to their great spiritual strength, will and courage.
Знак нагрудный «Отличный связист»
- 1943
- Brass, enamel.
- The State Russian Museum
- Мед.А-4594
Медаль партизану Отечественной войны I степени
- 1943
- Silver, .
- The State Russian Museum
- Мед.А-12666
На запад!
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-2359
Облигация на сумму 100 рублей Второго Государственного военного займа
- 1943
- Paper. 20 х 16
- The State Russian Museum
- Бум.А-16355
Орден Славы III степени
- 1943
- Silver, enamel, .
- The State Russian Museum
- Мед.А-3764
Писатель А. Т. Твардовский
- 1943
- Gypsum. 50 x 42 x 30
- The State Russian Museum
- СО-46
Портрет Вали Соколовой
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-194
Портрет писателя Сергея Владимировича Михалкова с сыном
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-490
Портрет товарища Литаврина / Портрет Героя Советского Союза, летчика-истребителя капитана С.Г. Литаврина
- Canvas, oil.
- The State Russian Museum
- Ж-5593
Портрет товарища Шишканя / Портрет Героя Советского Союза, летчика-истребителя старшего лейтенанта И.М.Шишканя
- Canvas, oil.
- The State Russian Museum
- Ж-4434
Проводы мобилизованных в 1941 году
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- 339
Прорыв блокады
- 1943
- Canvas, oil. 299 х 464
- The State Russian Museum
- Ж-5563
Сталин у постели больного М. Горького
- 1943
- Canvas, oil. 71,5 х 90
- The State Russian Museum
- Ж-5607
A Fascist Flew By
- 1947
- Canvas, oil. 134,5 х 181
- The State Russian Museum
- Ж-5576
Expanse
- 1944
- Canvas, oil. 204 x 300
- The State Russian Museum
- Ж-4500
In the last year of the war, happy colours appeared in Deineka’s austere palette. In the summer of 1944, he finished the large painting Expanse, which he began before the war. The resulting painting is perceived as a joyful hymn to peaceful life against a backdrop of the vast expanses of his native land.
The Taking of Sevastopol
- 1944-1947
- Canvas, oil. 317 х 494,5
- The State Russian Museum
- Ж-5577
The painting was shown in 1948 at the all-union art exhibition in the Pushkin Museum of Fine Arts in Moscow dedicated to the Soviet military’s 30th anniversary. The artist received a 3rd-degree State Prize for this exemplary work of the Soviet battle-painting genre, which in this case intersects with the historical genre, since it depicts a real historic event. The painting records the climactic moment in one of the key episodes of the Second World War, the liberation of Sevastopol from enemy occupation.
Бегство фашистов из Новгорода
- Canvas, oil.
- The State Russian Museum
- Ж-5565
Гость с фронта (Дорогой гость)
- Canvas, oil.
- Смоленский государственный музей-заповедник
Медаль Ушакова
- 1944
- Silver, .
- The State Russian Museum
- Мед.А-3762
Медаль наградная Нахимова
- 1944
- Bronze, .
- The State Russian Museum
- Мед.А-12668
Наступление начинается здесь
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-140
Облигация на сумму 200 рублей Третьего Государственного военного займа (Выигрышный выпуск)
- 1944
- Paper. 19,8 х 15
- The State Russian Museum
- Бум.А-16432
Портрет Заслуженной учительницы Е.С. Монастыревой
- Cardboard, oil.
- Череповецкое музейное объединение
- ЧерМО-2452/11
Портрет И. В. Сталина
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-144
Портрет Коротковой Л.Н., свинарки колхоза "Будёновец"
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-569
Проводка каравана в Белом море
- Paper, gouache.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Г-5940 АОМИИ
Юноши и девушки города Ленина, самоотверженно трудитесь на помощь фронту!
- Paper, .
- The State Russian Museum
- Гр.Пл.-643
At the Crimea Conference
- 1945
- Canvas, oil. 74,5 x 120
- The State Russian Museum
- Ж-5962
The meeting between the leaders of the three great powers — Britain, the USSR and the USA — that took place on 4–11 February 1945 at the Livadia Palace in Yalta, otherwise known as the Crimean Conference. When it was held, fighting was already underway within Germany, and the matter of postwar restructuring was one of the items on the agenda. The three countries were represented by Chairman of the Council of People’s Commissars of the USSR Joseph Stalin, British Prime Minister Winston Churchill, and US President Franklin D. Roosevelt.
Nevsky Prospekt on 9 July 1945
- 1945
- Canvas, oil. 75,5 х 101
- The State Russian Museum
- Ж-9200
Portrait of Georgy Zhukov
- 1945
- Canvas, oil. 109 х 90
- The State Russian Museum
- Ж-6446
Georgy Konstantinovich Zhukov (1896–1974): Soviet military commander, Marshal of the Soviet Union (1943), four-times Hero of the Soviet Union (1939, 1944, 1945, 1956), deputy USSR People’s Commissar for defence and deputy Commander-in-Chief (from 1942). Commanderin-Chief of the group of Soviet Forces in Germany and high commander of the Soviet Administration (1945–1946). He was also a Hero of the Mongol People’s Republic. Pyotr Kotov’s work is an artistic document depicting a concrete person. The literature is silent about the circumstances surrounding the painting of the portrait, possibly linked to the fact that the popular commander fell into official disfavour in March 1946 and was removed by Stalin from the post of Deputy Minister of Armed Forces and Commander of Land Forces of the Odessa Military District and, two years later, the Urals Military District.
«Горный Орел» (Портрет председателя колхоза-миллионера «Мухор-Тархата» Н. Майманакова)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-1103
Допрос коммунистов
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-275
Крымская конференция / На Крымской конференции руководителей трех великих держав
- Bronze.
- The State Russian Museum
- СО/ПФ-69
Маршал Советского союза Л.А.Говоров
- Gypsum.
- The State Russian Museum
- СО-91
Медаль наградная «За взятие Берлина», 1945 г.
- 1945
- Bronze, .
- The State Russian Museum
- Мед.А-3394
Медаль наградная «За освобождение Варшавы»
- 1945
- Bronze, .
- The State Russian Museum
- Мед.А-3971
Медаль наградная «За победу над Японией»
- 1945
- Bronze, .
- The State Russian Museum
- Мед.А-3781
Мир
- 1942-1945
- Canvas, tempera. 325 х 271
- The State Russian Museum
- Ж-6037
На Большую землю
- 1945
- Canvas, oil. 226 х 300
- The State Russian Museum
- Ж-5625
Награжденный медалью
- Canvas, oil.
- The State Russian Museum
- Жб-1984
Облигация на сумму 500 рублей Четвертого Государственного военного займа
- 1945
- Paper. 24,4 х 18,6
- The State Russian Museum
- Бум.А-16437
Победа
- Canvas, tempera.
- The State Russian Museum
- Ж-6036
Портрет Н. С. Ханаева
- 1945
- Canvas, oil. 155 х 114
- The State Russian Museum
- Ж-5578
Портрет героя Советского Союза т. М. П. Чечневой
- Canvas, oil.
- Самарский областной художественный музей
- Ж-845
Стадо тагилок
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-427
Строители освобожденного Донбасса
- Canvas, oil.
- Луганский художественный музей
Я другой такой страны не знаю, где так вольно дышит человек!
- 1945
- Paper, . 84,4 х 57,0
- The State Russian Museum
- Гр.Пл.-392
Клятва балтийцев
- Canvas, oil.
- The State Russian Museum
- ЖС-1174
Парад Победы
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2532 АОМИИ
Портрет Народного артиста СССР С. Я. Лемешева
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-293
Слава Победителям!
- Paper, chromolithography.
- The State Russian Museum
- ГрПл-2068
Сталину - спасибо! 1945 г.
- 1946
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1989
"Молодежь - наше будущее, наша надежда"
- 1947
- . 71 x 50 x 40
- The State Russian Museum
- СО-2136
Russian Soldier
- 1947
- Canvas, oil. 205 х 165,5
- The State Russian Museum
- Ж-5570
The image of a Russian soldier rescuing a German girl during street battles in Berlin became an element of propaganda symbolizing the humanity of the Red Army. Its most celebrated embodiment is the Soviet War Memorial in Berlin’s Treptower Park, created by sculptor Evgeny Vuchetich in the same years in which Fyodor Nevezhin painted this work.
В мастерской скульптора
- 1947
- Canvas, oil. 74,5 х 60
- The State Russian Museum
- Ж-4422
Вернулся
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-849
Вузовцы
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-814
Герб ЯАССР
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-213
Дмитровский шлюз
- 1947
- Canvas, oil. 137 x 180
- The State Russian Museum
- Ж-5603
Колхозный быт
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-214
Ленин на Ямале
- Canvas, oil.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ЖВ-95
Непокорённые
- Canvas, oil.
- Луганский художественный музей
Он защищал Родину (Подвиг Юрия Смирнова)
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-516
Портрет А. А. Жданова
- 1947
- Canvas, oil. 102 х 81
- The State Russian Museum
- Ж-5586
Портрет Вани Курочкина, рабочего Ярославского автозавода
- Canvas, oil.
- Ярославский художественный музей
- Ж-455
Социалистическое животноводство
- 1947
- Canvas, oil. 124,5 х 200
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 1194
Сталинградцы (Город не сдается)
- Canvas, oil.
- The State Russian Museum
- Жб-966
Торжественное обещание
- 1947
- Paper, lithography.
- The State Russian Museum
- С.Гр.-3656
Трудовые резервы
- 1947
- Bronze.
- The State Russian Museum
- СО-107
У водоема
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1017
"Шахматисты"
- 1948
- Paper, .
- The State Russian Museum
- С.Гр.-6695
Bread
- 1948
- Canvas, oil. 181 x 393
- The State Russian Museum
- Ж-2417
In the late 1940s, Alexander Bubnov addressed the theme of the Soviet countryside and images of collective farm workers. The artist s interest in the painting of the past is reflected in the composition of the picture. The panorama engages in an inner dialogue with the paintings of a whole series of Russian artists, from Alexei Venetsianov to Vladimir Makovsky. Transformed by peasant labour, the earth offers up its rich harvest. Bubnov expresses his delight at the endless fields and the golden ears of corn awaiting harvest.
Portrait of Joseph Stalin
- 1947–1948
- Canvas, oil. 114,5 x 92
- The State Russian Museum
- Ж-5599
In the 1930s the regime officially designated the ideological-creative task of producing images of socialism’s “brilliant creators” Lenin and Stalin and their closest associates. To meet these demands, totalitarian art was transformed into a leading instrument for the creation of the leader cult. The elaborate iconography of Lenin and Stalin images in Soviet art is rivaled only by that of Christ and the highest-ranking saints in Christian art, and it was organized along roughly the same lines, beginning with childhood, going through various embodiments and hypostases and ending with eternal existence in the afterlife. This process of sacralization of power unfolded quietly but quickly, reaching its apogee in 1949, when in honour of Stalin’s 70th birthday a plethora of frankly adulatory works were created and shown at the exhibition Joseph Vissarionovich Stalin in the Fine Arts.
Return (Sunny Morning)
- 1948
- Canvas, oil. 110,5 x 91,5
- The State Russian Museum
- ЖБ-1739
In keeping with the canons of Socialist Realism, the painting is built on the narrative principle, and contemporaries would have read it like an open book. On the floor is a carelessly and hastily opened suitcase, hanging on the chair back an officer’s jacket with combat medals: what we have here is a scene of a victorious hero’s return, his first morning at home. All the hardships of the Siege of Leningrad are now in the past, and the city greets its liberator with a wide, bright panorama of the Neva River through open windows. The artist’s own personal history is woven into this typical subject: she herself lived through the Siege, and her husband was an officer in the Baltic Fleet.
The People in the Second World War
- 1948
- Canvas, oil. 200 х 300
- The State Russian Museum
- Ж-7017
To create a rich image to express what the country had experienced, Deineka used a poster-like compositional treatment with a precisely balanced linear rhythm and a combination of several subjects of differing scales. Taking a scene he’d personally witnessed, the artist recreated it to reflect its importance in historical terms. The female figure in the foreground is allegorically charged: the motherland herself seeing her sons off to the front. The road’s broad diagonal divides the pictorial space into two planes, intensifies the composition’s expressive dynamism and symbolises both progress towards victory and the coming life of peacetime.
Vladimir Lenin
- 1948
- . 109 x 45 x 45
- The State Russian Museum
- СО-263
Sergei Merkurov is known in the history of Soviet sculpture as the unrivaled master of Lenin’s image. He was one of the first monument sculptors to regularly receive state commissions for statues of Lenin and Stalin, many of which have not survived. He was responsible for a huge number of these monuments. Art experts of the time noted with veneration the “Assyro-Babylonian” power of his monuments.
Возвращение героя
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-869
Краснодонцы
- Canvas, oil.
- The State Russian Museum
- Ж-6056
Лыжная прогулка
- 1948
- Canvas, oil. 160 х 200
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
На Академической даче
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2267
Нахимовец на Авроре
- 1948
- Lithography.
- The State Russian Museum
- С.Гр.-6566
Орденская коробочка
- 1948
- Bone, velvet, carving.
- The State Russian Museum
- Рк-189/аб
От модели и планера к самолету!
- 1948
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-2053
Подвиг пяти черноморцев
- Canvas, oil.
- Симферопольский художественный музей
Портрет Б. А. Лавренева
- 1948
- Canvas, oil. 71 x 58
- The State Russian Museum
- Ж-4425
Портрет К. Е. Ворошилова
- 1948
- Canvas, oil. 153 х 123
- The State Russian Museum
- Ж-6047
Портрет балерины А. Я. Шелест
- 1947‒1949
- Canvas, oil. 145 x 100
- The State Russian Museum
- Ж-5583
Портрет орденоносца, звеньевой колхоза Память Ленина Валентины Григорьевны Кляйкиной
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
Строительство Северо-Печорской железнодорожной магистрали в Заполярье
- Canvas, oil.
- Национальная галерея Республики Коми, Сыктывкар
- Ж288
Суворовцы на лыжах
- .
- The State Russian Museum
- С.Гр.-16133
Хоккей на стадионе «Динамо»
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
Юный десантник
- 1948
- . 56,5 x 46,5 x 34,5
- The State Russian Museum
- СО/ПФ-56
Elections to the Supreme Soviet of the USSR
- 1949
- .
- The State Russian Museum
- Ж-4405
In 1936, the new Stalinist constitution gave all Soviet citizens the right to vote. The first elections to the Supreme Soviet of the USSR took place on 12 December 1937. The press noted: "The election turned into a national holiday. Practically all residents of the country of voting age participated in the election". Alexander Volkov dramatised one of the fragments of the "national holiday" in a rural area. People, all dressed up, joyfully and excitedly rush to enter the polling station, and solemnly and sedately exit; an accordion player plays on the steps out front; the building is decorated with welcoming wall banners, posters, ribbons, and garlands with fluttering flags. The image grows to the scale of a public celebration in which new and old traditions, naïve enthusiasm and the thirst for a celebration are intertwined.
For the Happiness of the People (Session of the Politburo of the Central Committee of the All-Union Communist Party (Bolsheviks))
- 1949
- Canvas, oil. 280 х 380
- The State Russian Museum
- Ж-4408
Painted in celebration of Stalin’s 70th birthday in 1949, this work was shown at two major exhibitions: the All-Union Exhibition of Art and Joseph Vissarionovich Stalin in the Fine Arts. However, the character of the leader’s portrayal departs fundamentally from that of other formal paintings of the time. The dictator is shown with other members of the Politburo — Vyacheslav Molotov, Nikolai Shvernik, Nikolai Bulganin, Anastas Mikoyan, Nikita Khrushchev, Andrei Andreyev, Alexei Kosygin, Kliment Voroshilov, Georgy Malenkov and Lazar Kaganovich — discussing the planting of future forests “for the happiness of the people”. Although dressed in a marshal’s uniform with the star of a Hero of the Soviet Union, Stalin is intended to look like a simple and accessible man of the people. Stalin’s “simplicity” was also a principal and important element in the formation of his iconography. Although the Communist Party laid down specific guidelines regarding the ideological content of works of art, Soviet painters also learnt to adapt themselves to political changes. After the rejection of Stalin’s cult of personality and the death of Lavrenty Beria, Dmitry Nalbandyan painted over the latter’s figure, forming a logical compositional break between Andreyev and Kosygin.
M. G. Gusarov, Distinguished Steel Founder of the Hammer and Sickle Factory, with His Brigade
- From a series of portraits painted at the Hammer and Sickle Factory, for which the author received a Stalin Prize of the 3rd degree in 1949
- 1949
- Canvas, oil. 200 х 200
- The State Russian Museum
- Ж-6068
Maxim Gorky Reading His Tale Death and the Maiden to Joseph Stalin, Vyacheslav Molotov and Kliment Voroshilov
- 1949
- Canvas, oil. 194 x 220
- The State Russian Museum
- Ж-5609
The main idea behind Maxim Gorky’s philosophical tale is that love is stronger than death, yet love and death are inseparable.
The artist made several copies of the painting (Tretyakov Gallery, Kliment Voroshilov Naval Academy, Maxim Gorky Museum of the Russian Academy of Sciences).
Portrait of Joseph Stalin
- 1949
- Canvas, oil. 200,7 х 103,5
- The State Russian Museum
- Ж-5881
Portrait of Steel Founder Fyodor Konovalov
- 1949
- Canvas, oil. 124 х 97,5
- The State Russian Museum
- Ж-2415
Fyodor Ilyich Konovalov (1909–?): Steelmaker at the Kirov Factory in Leningrad, shock worker (Stakhanovite). This portrait is not the only work by Joseph Serebryany devoted to what was to come to be known as the “industrial theme”. Although depicting the commonplace, the artist always succeeds in bringing out the personality of his sitter.
Portrait of Timofei Khryukin
- Cast in 1949
- Bronze. 187 х 150 х 88
- The State Russian Museum
- СО-36
Timofei Timofeyevich Khryukin (1910–1953) was a Soviet military leader, pilot, colonel general in aviation, and twice Hero of the Soviet Union (1939, 1945). He participated in the Spanish Civil War (1936–1939), the Sino-Japanese War (1937–1945), the Soviet-Finnish War (1939– 1940), and the Second World War. For Khryukin’s ceremonial portrait the artist adopts the classical bust form, known in art since the time of Ancient Rome. The military greatcoat thrown over the general’s shoulders is transformed by the sculptor into a sumptuous drape, similar to the ceremonial toga of a Roman military leader. Different versions of the busts, executed in various materials, were installed on Khryukin’s grave at the Novodevichy Cemetery in Moscow and in the city of Yeysk, where Khryukin was born.
Portrait of the Engine Driver Pavel Fyodorov
- 1949
- Canvas, oil. 106 х 92
- The State Russian Museum
- Ж-2416
Pavel Apollonovich Fyodorov was a senior locomotive engineer for October Railways, who during the blockade of Leningrad worked on the “Road of Life”, the sole, narrow path across Lake Ladoga along which travelled vehicles delivering provisions to the city. Fyodorov was the foreman of the first train sent from besieged Leningrad to the “Big Land” after the blockade was broken.
The Great Oath (Joseph Stalin’s Speech at the Second All-Union Congress of Soviets on 26 January 1924)
- 1949
- Canvas, oil. 235 x 175
- The State Russian Museum
- Ж-4407
Reshetnikov’s painting was among those first shown at the exhibition Joseph Vissarionovich Stalin in the Fine Arts. The treatment of this theme — the continuity of Stalin’s ideas with those of Lenin — was very typical for Soviet mythology, in which historical myths often acquired the significance of real events. In this case the depicted event actually took place. The Second USSR Congress of Soviets, known as the one at which the Soviet constitution was ratified, was held in the Bolshoi Theatre from 26 to 31 January 1924. At the congress Stalin delivered a speech devoted to Lenin’s death, known to historians as the “Great Oath”. The establishment of Stalin’s personality cult began with this speech, so it’s not surprising that the event found such a monumental embodiment on canvas in 1949. Proclaiming himself Lenin’s successor despite Lenin’s 1922 testament, which was sacrilege in and of itself, Stalin needed to establish his right to that title at all costs. And just as that right was established in life in the 1920s and 30s, so it was in art in the 1940s. The triumphant colouration, the golden rays of light “raining down from the heavens” and the contrast of the leader’s towering figure with the crowd in the background help convey the idea of the uniqueness and monumental greatness of a man who in reality could boast of neither height, athletic build nor physical beauty.
Агрокружок в колхозе
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 652-ж
Артём в Донбассе
- Canvas, oil.
- Луганский художественный музей
Богатырь леса. Портрет знатного лесоруба А. П. Готчиева
- 1949
- Canvas, oil. 154 х 208,5
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-69
В праздник. (В выходной день)
- 1949
- Canvas, oil. 157 x 248
- The State Russian Museum
- Ж-6069
Водный праздник
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-367
Защитникам морских рубежей Советского Союза - Слава!
- Paper, .
- The State Russian Museum
- Гр.Пл.-810
И. В. Сталин с пионерами
- 1949
- Bisque.
- The State Russian Museum
- СФ-341
Игра в шахматы
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-1742
Летом
- 1949
- Canvas, oil.
- The State Russian Museum
- Ж-4406
Любите Родину!
- 1949
- Paper, . 83,6 х 58,9
- The State Russian Museum
- Гр.Пл.-396
На приволье (Животноводство в Сибири)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2201
Новый год
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-318
Отдых строительниц
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-577
Первоклассница
- Canvas, oil.
- Самарский областной художественный музей
- Ж-844
Письмо колхозников-животноводов
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 2194-ж
Подарок Сталину
- 1949
- Paper, .
- The State Russian Museum
- С.Гр.-6238
Портрет заслуженной артистки РСФСР В. Дуловой
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-651
Портрет сибирской героини К. В. Винокуровой
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2214
Советские моряки! Укрепляйте могущество военно-морских сил Советского государства
- Paper, .
- The State Russian Museum
- Гр.Пл.-831
У портрета вождя
- 1949
- Canvas, oil. 141 х 149
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
У токарного станка
- 1949
- .
- The State Russian Museum
- С.Гр.-3080
У фрезерного станка
- 1949
- .
- The State Russian Museum
- С.Гр.-3081
Юные мичуринцы
- 1949
- Bisque.
- The State Russian Museum
- СФ-342
Glory to the Great Stalin!
- 1950
- Canvas, oil. 351 х 525
- The State Russian Museum
- Ж-5872
The compositional and coloristic structure of the painting created by a team of authors (Yu. P. Kugach, V. K. Nechitailo, V. G. Tsyplakov) to the All-Union Art Exhibition of 1950, completely subordinated to the idea of presenting the leader of the state as the inspirer and organizer of the greatest victories. The grand staircase leading up, the hands of the applauding crowd, the open doors symbolizing a breakthrough into infinity, and the successfully staged lighting convey the jubilant mood of those present in the best possible way. Stalin appears in a shining halo, like a celestial descended to the crowd, close and inaccessible at the same time.
In the immediate environment of the leader are prominent members of the party and government (N. A. Bulganin, A. I. Mikoyan, A. A. Andreev, L. P. Beria, V. M. Molotov, A. N. Kosygin and others), famous military leaders and pilots (K. E. Voroshilov, I. N. Kozhedub, A. I. Pokryshkin), leaders production (A. G. Stakhanov), as well as prominent scientists — President of the USSR Academy of Sciences physicist S. I. Vavilov and Director of the Institute of Genetics of the USSR Academy of Sciences T. D. Lysenko. This "meeting" of academicians Vavilov and Lysenko (pictured on the left, behind the railing of the stairs) is one of the many paradoxes of Stalin's time. It is known that Sergey Vavilov's brother Nikolai, a prominent geneticist, founder and director of the Institute of Genetics, was arrested in 1940 with the help of Trofim Lysenko, who began the fight against classical genetics, and died in prison in 1943. Lysenko, after his arrest, headed the Institute and completed the destruction of genetics. Next on the canvas are representatives of numerous peoples inhabiting the Soviet Union, children and typical representatives of the masses. Thus, the ideologeme "man — crowd — leader" finds its canonical embodiment here. // Alice Lyubimova. Electronic catalog "Heroes and Villains of Russian History". St. Petersburg, 2010. p. 476.
He Writes the Word “Peace”
- From the Struggle for Peace composition
- 1950
- Bronze. 60 x 87 x 48
- The State Russian Museum
- СО/ПФ-126
In the Name of Peace (The Signing of the Treaty of Friendship, Union and Mutual Assistance Between the Soviet Union and the People’s Republic of China)
- 1950
- Canvas, oil. 271 x 400
- The State Russian Museum
- Ж-5952
The Soviet Union was the first country to establish official diplomatic ties with the newly-proclaimed People’s Republic of China in 1949. In Moscow on 14 February 1950, the USSR and the People’s Republic of China signed a 30-year contract on friendship, union and mutual assistance. Showing unprecedented loyalty to China and ceding many of the USSR’s claims in Chinese territory, Stalin was acting in the strategic interests of strengthening the USSR’s “everlasting and indestructible friendship” with its far-eastern neighbour. Depicted in the painting are Soviet and Chinese public figures including Guo Moruo, Mao Zedong and Zhou Enlai.
In the Peaceful Fields
- 1950
- Canvas, oil. 200 x 400
- The State Russian Museum
- Ж-6070
Portrait of the Lieutenant General of Aviation Andrei Tupolev
- 1950
- Canvas, oil. 140 x 90
- The State Russian Museum
- Ж-6026
Andrei Nikolayevich Tupolev (1888–1972), Soviet aeroplane builder, Academician of the USSR Academy of Sciences (1953), three-times Hero of Socialist Labour (1945, 1957, 1972) and General Commanding Engineer (1968). Winner of the Stalin Prize (1943, 1948, 1949, 1952), the Lenin Prize (1957) and the State Prize (1972). Tupolev designed more than 100 types of aircrafts, including the airliners of TU-models that bear his name.
The USSR Is the World’s Bastion of Peace
- Fragment of The Struggle for Peace composition
- 1950
- Bronze. 117 х 116 х 55
- The State Russian Museum
- СО-ПФ-109
In the first postwar years, when Manizer and his team of sculptors created this large, seven-part composition, the theme of the struggle for peace in a world divided into two social systems was especially relevant. Executed in a highly detailed and realistic manner in tune with the spirit of the times, this composition tells of various manifestations of peaceful life and the struggle against war. Each part is furnished with a descriptive title (for example, “American projectiles in the water” or “He writes the word ‘Peace’”) and carries an ideological message, functioning in essence as a sculptural poster on the anti-war theme. The fragment on display is the composition’s central part, where Stalin’s figure surrounded by ordinary folk symbolizes “the world’s bastion of peace”.
The Youth of the World
- From the Struggle for Peace composition
- 1950
- Bronze. 106,7 x 87,5 x 52,5
- The State Russian Museum
- СО/ПФ-131
There Will Be a Park Here
- 1950
- plywood, oil. 77 x 54
- The State Russian Museum
- Ж-10787
Moscow appears in the works of Yury Pimenov as a modern city undergoing renewal on a daily basis. In 1950 a major reconstruction effort was begun at the All-Union Agricultural Exhibition (VSKhV, later VDNKh). This enormous exhibition and park complex occupies more than three hundred hectares in the capital’s northeastern region. Towering over the rapidly progressing construction work in Pimenov’s study is Vera Mukhina’s celebrated sculpture Worker and Collective Farm Woman. In 1937 the sculpture had crowned the USSR Pavilion at the World Exhibition in Paris, after which it was returned to Moscow and installed at the entrance of VSKhV.
Быт колхозника
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-203
В новый дом
- Canvas, oil.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-254
Ваза «Выборы в Верховный Совет СССР»
- Porcelain, painting.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- ДПИ-51
Ваза «Слава»
- 1950-1951
- .
- The State Russian Museum
- СТ-2790/а-н
Герой СССР П. Вершигора
- Paper, watercolours.
- Музейно-выставочный центр (г. Когалым)
- ОФ-53
Егорьевский клуб имени Г. Конина
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 221
Petrov-Vodkin Kuzma Sergeyevich
1878, Khvalynsk (Saratov Province) - 1939, LeningradPainter, graphic artist, writer on art, history painter, portraitist. Studied at the Baron Stieglitz Central School of Technical Drawing (1895-97), under Abram Arkhipov and Valentin Serov at the Moscow School of Painting, Sculpture and Architecture (1897-1904), at Anton Aube\'\'s school in Munich (1901) and private academies in Paris. Contributed to exhibitions (from 1898). Contributed to the Salon d\'\'Automne (1906-07, 1908), Sergei Makovsky Salon (1909), Union of Russian Artists (1909, 1910), Golden Fleece (1909), Union of Youth (1910), World of Art (191124), Second Post-Impressionist Exhibition (1912), First Free Exhibition of Works of Art (1919), Association of Artists of Revolutionary Russia (1923, 1928), Four Arts (1925-29), World Exhibition in Brussels (1910) and the International Exhibitions in Rome (1911), Malmo (1914) and Venice (1924, 1928). Taught at the Elizaveta Zvantseva School of Painting and Drawing in St Petersburg (1910-15) and the Free Art Studios/Academy of Arts (1918-38). Honoured Artist of Russia (1930).
Danko Natalia
State Porcelain Factory
Kustodiev Boris Mikhailovich
1818, Astrakhan - 1927, LeningradPainter. Studied under Vasily Savinsky and Ilya Repin at the Higher School of Art, Imperial Academy of Arts (1896-1903). Fellow of the Imperial Academy of Arts in France and Spain (1903-1904). Academician of painting (1909). Founding member of the New Society of Artists (1904) and member of the Union of Russian Artists (1907), World of Art (1910) and the Association of Artists of Revolutionary Russia (1923). Contributed to exhibitions (from 1900). Contributed to the periodical exhibitions of the Moscow Society of Lovers of the Arts (1900-1901), Spring Exhibitions of the Imperial Academy of Arts (1900-1903) and the exhibitions of the New Society of Artists (1904-1908), Union of Russian Artists (1907-1910), World of Art (1910-1924), Association of Artists of Revolutionary Russia (1923, 1925) and the International Exhibitions in Munich (1901, gold medal; 1909) and Malmo (1914, gold medal). Designed for theatres in Moscow and St Petersburg (from 1911).
Avilov Mikhail
1882, St Petersburg — 1954, LeningradPainter. Studied at the School of Drawing, Society for the Encouragement of Arts (1893), worked as an icon-painter at the New Athos Monastery. Studied at Lev Dmitriyev-Kavkazsky’s studio (1903–1904), Higher School of Art, Imperial Academy of Arts (1904–1905, 1907–1913). Contributed to exhibitions (from 1908). Member of the Association of Artists of Revolutionary Russia (1923–1928), Union of Soviet Artists (from 1929), Union of Artists of the USSR (from 1932), exhibitor of the Arkhip Kuindzhi Society (1917–1930). Taught at the painting and drawing courses in Tyumen (1918–1921); Drawing School at the Society for the Encouragement
of Arts, Leningrad College of Art and Industry, (1922(21?)–1930); taught drawing and painting at the Armoured Vehicle Courses (from
1930), at the Ilya Repin Institute of Painting, Sculpture and Architecture (1947–1954). Professor (from 1948), doctor of art history (from 1948), full member of the Academy of Arts of the USSR (from 1947). People’s Artist of the RSFSR (from 1953). Stalin Prize (first degree) for works created in 1943–1944 (Duel on Kulikovo Field (Duel between Peresvet and Chelubei), 1943).
Malevich Kazimir Severinovich
1878, Kiev - 1935, LeningradPainter, graphic artist, writer on art, portraitist, landscapist, abstractionist. Studied at the Kiev School of Art (1895-1896) and Fyodor Roehrberg\'s studio in Moscow (1906-1910). Contributed to exhibitions (from 1905). Contributed to the exhibitions of the Moscow Fellowship of Artists (from 1907), Donkey\'s Tail (1912), Target (1913), Der Blaue Reiter (1912), Salon des Independants (1914), Tramcar V. First Futurist Exhibition (1915) and 0,10. Last Futurist Exhibition (1915-1916). Designed the sets and costumes for the Futurist opera "Victory Over the Sun" (1913). Member of the Union of Youth (1910) and Jack of Diamonds (1910, 1916). Founded the AFFIRMES OF THE NEW ARTgroup (1920). Worked for Department of An People\'s Commissariat of Education (1918-1919). Director of the Museum/Institute of Artistic Culture in Petrograd/Leningrad (1923-1926).
Unknown painter
Сварог Василий Семенович
Суетин Николай Михайлович
Чашник Илья Григорьевич
Chernyshev Nikolai
Altman Nathan Isaevich
1889, Vinnitsa - 1970, LeningradPainter, graphic artist, sculptor, book, theatrical and cinema designer. Studied under Kiriak Kostandi and Gennady Ladyzhensky at the Odessa School of Art (1903-07) and at the Maria Vasilyeva Free Russian Academy in Paris (1910-11). Contributed to exhibitions (from 1906). Contributed to the exhibitions of the Fellowship of South Russian Artists (1910), Union of Youth (1913-14), World of Art (1913, 1915, 1916) and the Jewish Society for the Encouragement of Artists (1915-19; founding member). Taught at Mikhail Bernstein\'s studio (1915-16) and the State Free Art Studios in Petrograd (1918-20). Member of Department of An, People\'s Commissariat of Education (1918-21). Research assistant of the Institute of Artistic Culture (1923). Designed for theatres. Honoured Artist of the Russian Soviet Federater Socialist Republic (1968).
Андриянов Александр Яковлевич
Brodsky Isaac izraelevich
1883 (1884), Sofievka Tauride province. - 1939, LeningradPainter, graphic artist; teacher. Studied at the Odessa School of Art (1896–1902) and the Higher School of Art, Imperial Academy of Arts (1902–1908). Fellow of the Imperial Academy of Arts in France and Italy (1909–1911). Contributed to exhibitions (from 1904), including the International Exhibitions in Rome (1911), Munich (1913, gold medal) and others. Taught at the Ilya Repin Institute of Painting, Sculpture and Architecture (from 1932–1939, professor), director of the All-Russian Academy of Arts (from 1934). Honoured Artist of Russia (1934).
Векслер Михаил (Монаш) Соломонович (Шлемович)
Изенберг Владимир Константинович
Комаров Алексей Иванович
Samokhvalov Alexander Nikolaevich
1894, Bezhetsk (Tver Province) - 1971, LeningradPainter, graphic artist, theatrical designer, applied artist, sculptor.
Studied architecture at the Higher School of Art, Imperial Academy of Arts (1914-18) and at the Free Art Studios/Higher Art and Tech¬nical Studios in Petrograd (1920-23). Contributed to exhibitions (from 1917).
Serebryakova Zinaida Yevgenyevna
1884, Neskuchnoe (Kursk Gubernia) - 1967, ParisPainter, graphic artist. Sister of Yevgeny Lanceray and niece of Alexander Benois. Studied under Ilya Repin at the Princess Maria Tenisheva School (1901), at Osip Braz\'s studio in St Petersburg (1903-1905) and the Academic de la Grande-Chaumiere in Paris (1905-1906). Contributed to exhibitions (from 1910). Contributed to the Exhibition of Modern Female Portraits (1910) and the exhibitions of the Union of Russian Artists (1910), World of Art (1911-1924; member from 1910), Russian Landscapes (1918-1919), House of Arts (1920), International Exhibition in Pittsburgh (1925) and the Exhibitions of Russian Art in New York (1924), Toronto (1925), Los Angeles (1925), Paris (1927, 1932), Brussels (1928), Berlin (1930) and Belgrade (1930). Emigrated to Paris (1924).
Харламов Матвей Яковлевич
Leningrad Porcelain Factory / State Porcelain Factory named after M.V. Lomonosov
Kletenberg Arthur
Конашевич Владимир Михайлович
Вильямс Петр Владимирович
Голополосов Борис Александрович
Терпсихоров Николай Борисович
Juon Konstantin Fyodorovich
1875, Moscow — 1958, Moscow
Grabar Igor Emmanuilovich
1871, Budapest — 1960, MoscowPainter, art historian, art critic, museum curator. Studied law, history and philology at St. Petersburg university (1889–1896). Studied at the Higher School of Art, Imperial Academy of Arts (1894–1896) and at Anton Ažbe’s school in Munich (1896–1898). Academician of painting (1913). Contributed to exhibitions (from 1898). Taught at the Ažbe/Grabar school in Munich (1898–1901). Trustee (1913–1918) and director (1918–1925) of the Tretyakov Gallery; director of the Central Art and Restoration Studios (1918–1930).
Grinberg Vladimir Arievich
1896, Rostov-on-Don — 1942, LeningradPainter, graphic artist, sculptor, watercolourist, illustrator, teacher. Studied at the Rostov-on-Don College of Commerce while simultaneously painting and drawing; studied in the Polytechnic Institute and New Studio in St Petersburg (from 1915). Contributed to exhibitions (from 1914). Member of the Union of Artists (1933). Taught at a school of art and workers’ school at the Rostov-on-Don University (1919–1922); Leningrad College of Art and Industry (1926–1927); Leningrad Institute of Communal Construction (1928–1941); Ilya Repin Institute of Painting, Sculpture and Architecture (1932–1933).
Deineka Alexander Alexandrovich
1899, Kursk - 1969, MoscowPainter, graphic artist, sculptor, poster designer. Helped to decorate streets on Communist holidays. Studied at the Kharkiv School of Art (1914-1918) and the Free/Higher Art and Technical Studios (1920-1925). Contributed to exhibitions (from 1924). Member of the Union of Artists (from 1932). Taught at the Higher Art and Technical Institute (1928–1930), Moscow Institute of Polygraphy (1930–1934), Vasily Surikov Institute of Art (1936, 1946, 1957–1964), Moscow Institute of Applied and Decorative Art (1945–1952) and Moscow Institute of Architecture (1953–1957). Business trips to Italy, France and the USA (1935). Full member of the Academy of Arts of the USSR (1947). Vice President of Academy of Arts of the USSR (1962, 1966). People\'s Artist of the USSR (1963). Corresponding member of the Academy of Arts of the GDR (1964). Hero of Socialist Labour (1969). Awarded the Lenin Prize (1964).
Kotukhin Alexander Vasilievich
Палех, Ивановская область
Лебедев-Шуйский Анатолий Адрианович
Luppov Sergei
Модоров Федор Александрович
Pakhomov Alexei Fyorovich
1900, Varlamovo, Vologda Province — 1973, LeningradPainter, graphic artist, monumentalist, book artist, sculptor, painter of portraits, genre scenes and watercolours, illustrated children’s books and journals, designed posters. Studied at the Baron Stieglitz Central School of Technical Drawing (1915–1917) in Petrograd / Leningrad; Petrograd State Free Art Studios / VKhUTEMAS / VKhUTEIN (1922–1925); Academy of Arts, graphic department (1926). Contributed to exhibitions (from 1921). Worked for the Okna ROSTA political poster studio (1921) and various publishing houses (1923–1925); produced monumental interior paintings for public buildings in Leningrad (1920s — 1930s). Taught. Professor (1949). Author of the book About My Work (1968–1969). Member of the arts council at the “Children’s Literature” and “Artist” publishing houses. Honoured Artist of the RSFSR (1945), People’s Artist of the RSFSR (1963), People’s Artist of the USSR (1971), corresponding (1958) and full (1964) member of the USSR Academy of Arts. Winner of the Stalin Prize (1946) and State Prize (1973). Awarded a major gold medal at the International Exhibition in Paris (1937) for the Children of the Soviet Land panel made for the Soviet pavilion.
Волков Илья Васильевич
Labas Alexander
Николаев Василий Александрович
Pakulin Vyacheslav Vladimirovich
1900, Rybinsk – 1951, Leningrad1900, Rybinsk – 1951, Leningrad
Painter, graphic artist, theatrical designer, landscapist, portraitist; painted still lifes and genre scenes. Studiedatthe Baron Stieglitz Central School of Technical Drawing (1916–1917, 1920–1922) and under Alexei Karev and Alexei Savinov at the Higher Art and Technical Studios (1922–1925). Contributed to exhibitions (from 1922). Member and contributor to the exhibitions of the Union of New Trends in Art (1921–1922) and the Circle of Artists (1926–1932; founding member and chairman). Member of the Board of the Leningrad branch of the Union of Artists (1935). Member of the team of artists (1935) (headed by Alexander Samokhvalov) working on the panel Cotton for All-Union Agricultural Exhibition.
Рубанов Иосиф Менделевич
Урманче Баки Идрисович
Кондиайн Элеонора Максимилиановна
Kulikov Ivan Semionovich
1875 Moore, Vladimir Province. - 1941, Moore, Vladimir region.Куликов Сергей Иванович
Николаев Василий Петрович
Shevchenko, Alexander Vasilyevich
1883, Kharkov — 1948, MoscowPainter, teacher. Studied at the Stroganov Central School of Technical Drawing in Moscow (1898– 1905, 1906–1908), at Eugène Carrire’s studio and the Académie Julian in Paris (1905–1906) and at the Moscow School of Painting, Sculpture and Architecture (1908–1910). Member of Makovets (1922, chairman) and the Shop Floor of Artists (1926). Contributed to exhibitions (from 1903) including Salon des Indépendants in Paris (1906), Moscow Fellowship of Artists (1908, 1909), Moscow Salon (1911, 1913), Union of Youth (1912, 1912–1913), Donkey’s Tail (1912), Target (1913), the World of Art (1913, 1917, 1921), No. 4: Futurists, Rayists, Primitives (1914). Taught at the Central School of Art and Industry and the Moscow Textile Institute (1940–1942).
Adlivankin Samuel
Белкин Вениамин Павлович
Вавилин Алексей Григорьевич
Kuprin Alexander Vasilyevich
1880, Borisoglebsk, Tambov Province — 1960, MoscowPainter, graphic artist, monumentalist. Studied at the Amateur Drawing Club in Voronezh (1896); Lev Dmitriev-Kavkazsky’s studio in St Petersburg (1902–1904); Konstantin Juon and Ivan Dudin School of Drawing and Painting in Moscow (1905–1906); Moscow School of Painting, Sculpture and Architecture (1906–1910). Contributed to exhibitions (from 1908). Taught at art schools in Moscow and Nizhny Novgorod. Honoured Artist of the RSFSR (1956), correspondent member of the USSR Academy of Arts (1954).
Mashkov Ilya Ivanovich
1881, Mikhailovskaya (Don Region) - 1944, Abramtsevo (outside Moscow)Painter, graphic artist, teacher, portraitist, genre artist. Studied under Abram Arkhipov, Konstantin Korovin and Valentin Serov at the Moscow School of Painting, Sculpture and Architecture (1900-1909). Member of the Jack of Diamonds (1911), World of Art (1916), Society of Moscow Artists (1924-1928) and the Association of Artists of Revolutionary Russia (from 1924). Contributed to exhibitions (from 1902). Contributed to the exhibitions of the New Society of Artists (1909), Golden Fleece (1909-1910), Vladimir Izdebsky Salon (1909-1911), Jack of Diamonds (1910-1914), Moscow Salon (1911), Salon des Independants (1911, 1912) World of Art (1911, 1912, 1915-1922, 1929), Society of Moscow Artists (1927, 1928) and the Venice Biennale (1924). Taught in his own studio in Moscow (1904-1917) and at the Free Art Studios/ VKhUTEMAS/Higher Art and Technical Institute (1920-1930). Headed the central studio of the Association of Artists of Revolutionary Russia (1925-1929). Honoured artist of the RUSSIAN SOVIET FEDERATED SOCIALIST REPUBLIC (1928).
Моравов Александр Викторович
Nesterov Mikhail Vasilyevich
1862, Ufa - 1942, MoscowPainter, portraitist, landscape artist, genre painter, author of memoirs and essays on artists. Studied at the Moscow School of Painting, Sculpture and Architecture (1877-81, 1884-86) and the Imperial Academy of Arts (1881-84). Full member of the Imperial Academy of Arts (1910). Member of the Society of Travelling Art Exhibitions (1896) and founding member of the Union of Russian Artists (1903). Contributed to the exhibitions of the Society of Travelling Art Exhibitions (1889-1901), World of Art (1899-1901), 36 Artists (1901-03), Union of Russian Artists (1922, 1923), All-Russian Exhibition in Nizhny Novgorod (1896), Exposition Universelle in Paris (1900), International Exhibitions in Munich (1898,1909) and Rome (1911), Die erste russische Kunstausstellung in Berlin (1922) and the Exhibition of Russian Art in New York (1924). Honoured Artist of the RUSSIAN SOVIET FEDERATED SOCIALIST REPUBLIC (1942).
OSOLODKOV Pyotr Alexeyevich
1898, Rybinsk — 1942, LeningradPainter, graphic artist. Studied at the Fifth Army’s art studio in Omsk; VKhUTEMAS / VKhUTEIN in Leningrad (1924–1929); post-graduate student at the Ilya Repin Institute of Painting, Sculpture and Architecture (1933–1934); advanced training courses at the All-Russian Academy of Arts (1934–1936). Contributed to exhibitions (from 1927). Taught at art studios in Leningrad. Designed street decorations for mass festivals, worked as a graphic designer for various publishing houses in Leningrad (late 1920s — 1930s).
Петрушин Б.
Пичугин Сергей Иванович
Прохоров Семен Маркович
Rozhdestvensky Vasily Vasilyevich
12(24).05.1884, Tula – 20.05.1963, MoscowPainter, graphic artist, theatrical designer. Studied at the Moscow School of Painting, Sculpture and Architecture (1900–1910, in intervals). Contributed to exhibitions (from 1907). Taught at the State Free Art Studios / VKhUTEMAS in Moscow (1919–1920) and at its branch in Tver Province (1920–1921).
SOKOLOV-SKALYA Pavel Petrovich
1899, Strelna near St Petersburg — 1961, MoscowPainter, graphic artist, monumentalist, theatrical and cinema artist; painted revolutionary historical, battle and genre paintings, portraits, landscapes and still lifes. Studied at Ilya Mashko’s art studio in Moscow (1914–1918); State Free Art Studios / VKhUTEMAS (1920–1922). Contributed to exhibitions (from 1921). Taught at the Moscow Institute of Decorative and Applied Arts (1948–1951); Moscow Teaching Institute (1952–1953); Vasily Surikov State Institute of Art in Moscow (1953–1962). Professor (1949). Part of the team of artists that created the Storming of Perekop panorama and diorama series (1935–1938). Headed the group of artists that created The First Cavalry at the Rear of Wrangel’s Army diorama (1936–1937). Head of the Okna TASS political poster studio (1941–1946). Headed the team that recreated The Siege of Seva stopol (1854–1855) panorama by Franz Roubaud (1946–1949). Honoured Artist of the RSFSR (1944), People’s Artist of the RSFSR (1959), full member of the USSR Academy of Arts (1949). Winner of the Stalin Prize (1942, 1949).
Львов Евгений Александрович
Sterenberg David Petrovich
1881, Zhitomir — 1948, MoscowPainter, graphic artist, theatrical designer, and book illustrator, David Sterenbergstudied at a private studio in Odessa, before attending Académie Vitti in Paris from 1907 to 1912. His work was shown since 1912 at exhibitions such as Salon De Printemps, Salon d’Automne and Salon des Indépendants in Paris (1912–1917). Sterenberg was Commissar for Art in Petrograd from 1917 to 1919, head of the fine arts department at IZO Narkompros (1918–1920) and amember of the Four Arts Association. Throughout the 1920s, hetaught at the Higher Art and Technical Studios/Higher Art and Technical Institute in Moscow and was a founding member and chairman of the Society of Easel Artists. Director of the Russian section of Exposition Internationale des Arts Decoratifs et Industriels Modernes (Paris, 1925), member of the Union of German Book Artists (1928) andfirst deputy chairman of the Moscow branch of the Union of Soviet Artists (1932–1937), Sterenberg washonoured as an Arts Worker of the RSFSR in 1930.
Шубинf Галина
Bogayevsky Konstantin Fyodorovich
Bogorodsky Fyodor Semyonovich
1895, Nizhny Novgorod — 1959, MoscowPainter, graphic artist; theatrical designer. Studied at the Faculty of Law, Moscow University and studios of M. Le Blanc (1914–1916); VKhUTEMAS in Moscow (1922–1924). Contributed to exhibitions (from 1916). Professor, head of the painting and drawing department at the All-Union Institute of Cinematography (1938–1959). Honoured Artist of the RSFSR (1946), corresponding member of the USSR Academy of Arts (1947).
Григорьев Григорий Григорьевич
Иорданский Борис Вячеславович
Dymshits-Tolstaya (Pesatti) Sofya Isaacovna
1889, St Petersburg — 1963, LeningradPainter, graphic artist. Studied under Sergei Egornov in St Petersburg (1906–1907), at Elizaveta Zvantseva’s School of Drawing and Painting (1909–1910) and under Jacques-Émile Blanche and Charles Guérin in Paris (1910–1911). Contributed to exhibitions (from 1912). Worked with Vla - dimir Tatlin. Member of the City Fine Arts Committee of Narkompros and its All-Russian Exhibition Committee (1918). Head of the commissariat’s art publications department and director of the painting section of the Trade Union of Art Workers (1920s). Editor at the art sections of the magazines Rabotnitsa (Woman Worker) and Krestyanka (Peasant Woman) (1925–1935). Member of the Union of Artists (1932).
Zverev Vasili Aleksandrovich
Крайнев Василий Васильевич
Kuznetsov Pavel Vartholomeyevich
1878, Saratov - 1968, MoscowPainter, graphic artist. Studied under VasilyKonovalov in Saratov (1891-96), under Abram Arkhipov, Valentin Serov and Konstantin Korovin at the Moscow School of Painting, Sculpture and Architecture (1897-1904) and attended private studios in Paris (1906). Helped to organise the Scarlet Rose (1904) and Blue Rose (1907) exhibitions. Contributed to the exhibitions of the World of Art (from 1902), Union of Russian Artists (from 1906), Wreath (1908) and one-man shows in Russia and abroad. Life member of the Salon d\'Automne (1906). Chairman of the Four Arts (1924-31). Lived in Moscow.Taught at art institutions in Moscow (until 1949).Honoured
MODOROV Fyodor
1890 – 1967Osmerkin Alexander Alexandrovich
1892, Elisavetgrad, Kherson Province — 1953, MoscowPainter, graphic artist, theatrical designer, designed decorations for revolutionary mass festivals. Studied at the School of Art (1911–1913) in Kiev and Ilya Mashkov’s studio in Moscow (1913–1915). Contributed to exhibitions (from 1913). Taught at art schools in Moscow and Leningrad (1918–1948). Professor (1932). Worked for the Okna TASS political poster studio (1941).
Титов Ярослав Викторович
Уткин Петр Саввич
Филиппович Михаил
Filonov Pavel Nikolaevich
1882/83, Moscow - 1941, LeningradPainter, graphic artist, theatrical designer, poet. Studied at painting studios in St Petersburg (1897-1901), Lev Dmitriyev-Kavkazsky\'\'s studio (1913-08), School of Drawing, Society for the Encouragement of Artists (1893-1901) and under Vasily Savinsky and Jan Ciaglinskj at the Higher School of Art, Imperial Academy of Arts (1908-10). Contributed to exhibitions (from 1910). Founding member of the Union of Youth (1910). Founded the Made Pictures studio of painters and draughtsmen and published its manifesto (1914; second version published in 1923). Helped to design the sets and costumes for a production of Vladimir Mayakovsky: A Tragedy (1913). Wrote the poem Chant of Universal Flowering (1914-15). Headed the Department of General Ideology at the Museum of Artistic Culture (1923). Helped to write the statute of the Institute of Artistic Culture. Formed the Masters of Analytical Art (1923).
Хвостенко Василий Вениаминович
Христофоров Сергей Александрович
Цыбасов Михаил Петрович
Volter Alexei Alexandrovich
1889, Nizhny Novgorod — 1973, MoscowPainter, museum worker, author of articles on museology. Studied at Andrei Karelin’s studio in Nizhny Novgorod (1900–1908), School of Drawing of the Society for the Encouragement of the Arts (1913), Vasily Zverev’s studio in St Petersburg / Petrograd (1913–1915).Contributed to exhibitions (from 1915). Director of the State Tretyakov Gallery (1932–1934). Member of the Academy of Arts and Sciences, first chairman of the Moscow organization of the Union of Artists, first director of the Central Handicrafts Museum, director of the Art Fund of the USSR.
Кочергин Николай Михайлович
Ryazhsky Georgy (Egor)
1895 – 1952Сашин (Васькин) Андрей Тимофеевич
Строев Петр Феонович
Чехонин Сергей Васильевич
TSVETKOV Boris Ivanovich
1893 (5?) — 1942 (3?)Painter, theatrical designer, decorator. Studied at Alexander Makovsky’s private art studio in St Petersburg (late 1900s — early 1910). Contributed to exhibitions (from the 1920s). Worked as a theatrical designer (1921–1925).
Sherwood Leonid Vladimirovich
1871, Moscow — 1954, LeningradSmall-scale and monumental sculptor, teacher. Studied at the Moscow School of Painting, Sculpture and Architecture (1886–1892) and the Imperial Academy of Arts (1892–1898) in Petrograd. Contributed to exhibitions (from 1902). Founding member of the New Society of Artists (1904). Honoured Artist of the RSFSR (1946). Doctor of Art Studies (1942).
YANOVSKAYA Olga Dmitrievna
1900, Volynsk — 1998, MoscowPainter. Studied at a private art studio in Kiev (1916); Ilya Mashkov’s studio in Moscow (from 1923); central studio of the Association of Artists of Revolutionary Russia (1928–1929). Contributed to exhibitions (from 1926). Taught at the Moscow Printing Institute. Lived in Moscow (from 1922).
Васильев Владимир Александрович
Ermolayev Boris Nikolayevich
1903, St Petersburg — 1982, LeningradGraphic artist, illustrator of books and magazines, lithographer. Studied at the Art Restoration Studios / Leningrad College of Art and Industry (1921–1925). Contributed to exhibitions (from 1928). Member of the Union of Artists (1941). Contributed to newspapers Leninskiye Iskry, Bytovaya Gazeta, and magazines Krasnaya Panorama, Yuny Proletary, Rezets, illustrated children’s books (1927–1934). Worked at the lithographic shop of the Leningrad Union of Artists (from 1940).
Крамаренко Лев Юрьевич
Malagis Vladimir
Чевалков Николай Иванович
Vereisky Georgy Semyonovich
1886, Proskurov, Podolsk Gubernia — 1962, LeningradGraphic artist, painter, teacher. Studied at Egor Schreider’s studio in Kharkov (1895–1904); Faculty of Law, Kharkov university; Faculty of Law, St Petersburg university (graduated in 1912) and under Mstislav Dobuzhinsky, Boris Kustodiev and Evgeny Lanceray at the New Art Studio in St Petersburg (1913–1916). Taught at the Higher Art and Technical Studios/Institute (1921–1923). Curator of engraving at the State Hermitage (1918–1930). Full member of the Academy of Arts of the uSSR (1949). People’s Artist of the RSFSR (1962). Winner of the Stalin Prize (1946).
Кацман Евгений Александрович
Кокель Алексей Афанасьевич
Kuptsov Vasily
1899, Pskov - 1935, LeningradLaktionov Alexander Ivanovich
Lebedev Vladimir
Lizak Israel Lvovich
1905, Slavuta, Volyn Province — 1974, LeningradPainter, graphic artist. Studied at the School of Drawing of the Society for the Encouragement of the Arts (1916–1918) and the Petrograd State Free Art Studios / VKhUTEMAS / VKhUTEIN (1919–1925); attended Alexander Bely’s art studio (1922). Contributed to exhibitions (from 1923). Member of the Union of Artists (1932). Taught drawing at the Vera Mukhina School of Art and Industry in Leningrad (1946–1948). Worked as a designer at the newspaper Smena (1930–1935), worked with various publishing houses (1949–1951); worked in research and restoration studios, restored frescoes in cathedrals and palaces in St Petersburg and its environs (1952–1956).
Миловидов Борис Васильевич
Пинус Наталья Сергеевна
Протопопова Людмила Викторовна
Штриккер (Цайзель) Ева-Амалия (Ева Александровна)
RUTKOVSKY Nikolai Christophorovich
1892, Schoenberg, Courland Province — 1968, LeningradPainter, graphic artist, theatrical designer, monumentalist; master of genre paintings, portraits, landscapes and still lifes. Studied at the School of Drawing, Society for the Encouragement of the Arts (1911–1913) and the Academy of Arts (1913–1915, 1921–1922). Contributed to exhibitions (from 1923). Taught monumental painting at the Institute of Painting, Sculpture and Architecture (1936–1942), headed the monumental painting studio.
TIKHOV Vitaly Gavrilovich
1876, Kiev Province — 1939, LeningradPainter, landscapist, genre artist. Studied in St Petersburg at Alexander Makovsky’s private art studio (1901–1904), Higher School of Art at the Imperial Academy of Arts (1904–1912). Contributed to exhibitions (from 1916).
Туганов Георгий Александрович
Аптер Яков Натанович
Bibikov Georgy Nikolayevich
1903, Poltava — 1976, LeningradPainter, graphic artist, book illustrator, theatrical designer, monumentalist. Studied at the College of Art and Industry in Omsk (1920–1925), VKhUTEIN and the Institute of Proletarian Fine Art in Leningrad (1925–1930). Contri buted to exhibitions (from 1920). Member of the Union of Artists (from 1932).
Buchkin Pyotr Dmitrievich
1886, Sofronovo, Tver Province — 1965, LeningradPainter, graphic artist, teacher, history painter, genre artist, portraitist, landscapist. Studied at the Baron Stieglitz Central School of Technical Drawing (1899–1904) and the Higher School of Art, Imperial Academy of Arts in St Petersburg (1904–1912). Contributed to exhibitions (from 1907). Member of the Union of Artists (1932). Taught at the Ilya Repin Institute of Painting, Sculpture and Architecture (1936–1940) and the Vera Mukhina School of Art and Industry (1947–1965). Professor (1953).
Goryushkin-Sorokopudov, Ivan Silych
1873, Nashcha, Tambov Gubernia — 1954, Ivanovka, Penza RegionPainter, graphic artist, teacher. Studied at the Higher School of Art, Imperial Academy of Arts (1895–1902). Contributed to exhibitions (from 1896). Taught at the Nikolai Seliverstov School of Art in Penza (1908–1954; 1942–1947, director). Honoured Artist of the RSFSR (from 1943).
Кубарская Елена Петровна
Дорохов Константин Гаврилович
Дроздов Иван Георгиевич
Кастеев Абылхан
Кругликова Елизавета Сергеевна
Любимов Владимир Петрович
Мидлер Виктор Маркович
Pimenov Yury (Georgy) Ivanovich
1903, Moscow – 1977, MoscowPainter, draughtsman, theatrical designer, monu¬mental and decorative artist. Studied under Vla ¬dimir Favorsky, Vadim Faliev and Sergei Malyutin at the Higher Art and Technical Studios in Moscow (1920–1925). Contributed to exhibitions (from 1924). Contributed to the Society of Easel Artists (1925–1931, founding member), Izobrigade (1931). Taught at the Institute for Raising Artists Qualifi¬cations (1936–1937) and the All-Union State Insti ¬tute of Cinematography (1945–1972). Professor (1947).People sArtistoftheUSSR(1954).Fullmem¬ber of the Academy of Arts of the USSR (1967).
Рыбченков Борис Федорович
Savinov Alexander Ivanovich
Samokish Nikolai Semyonovich
1860 Nezhyn Chernigov province - 1944, SimferopolЧорос-Гуркин Григорий Иванович
CHUGUNOV Sergei Alexandrovich
1901—1942, LeningradPainter; created genre paintings and portraits. Studied in Petrograd / Leningrad at the School of Drawing, Society for the Encouragement of the Arts (1918); Civil Engineers’ Institute (1918–1919); Petrograd State Free Art Studios / VKhUTEIN (1920–1925, in intervals); attended additional courses at the Academy of Arts (1934–1935). Contributed to exhibitions (from 1925). Member of the Union of Artists (1932). Died in Leningrad during the Siege.
Воскресенский Фёдор Михайлович
Gerasimov Sergei Vasilyevich
1885, Mozhaisk, Moscow Province — 1964, MoscowPainter, graphic artist, teacher. Studied at the Stroganov School of Art and Industry (1901–1907) and the Moscow School of Painting, Sculpture and Architecture (1907–1911); studied lithography. Contributed to exhibitions (from 1906). Member of the Union of Artists (1932), chairman of the Moscow Union of Artists (1938–1941). Taught at the State Free Art Studios / VKhUTEMAS / VKhUTEIN in Moscow (1920–1929); Moscow Textile Institute (1930–1931); Moscow Printing Institute (1930–1936); Moscow Institute of Fine Arts / Vasily Surikov Institute of Art (1946–1948, director). Professor (1940). Full member of the USSR Academy of Arts (from 1947). People’s Artist of the USSR (1958). Winner of the Lenin Prize (1966 posthumous).
Rukavishnikova Varvara Fedorovna
Купервассер Татьяна Исидоровна
Мелентьев Герман Александрович
Mukhina Vera Ignatievna
1889, Riga — 1953, MoscowSculptor, decorative and easel master, theatrical designer, applied artist, portraitist. Studied at the Konstantin Juon School of Art in Moscow (1909–1911), Ilya Mashkov’s studio (1911), under Émile Antoine Bourdelle and at the Académie de Filippo Colarossi, Académie de la Palette, Académie de la Grande-Chaumière and the Académie des Beaux-Arts in Paris (1912–1914). Contributed to exhibitions (from 1920).
PAVLOV Semyon Andreyevich
1893, St Petersburg — 1941, LeningradPainter, graphic artist. Studied at the School of Drawing of the Society for the Encouragement of the Arts (1912–1917); Higher School of Art at the Academy of Arts / Petrograd State Free Art Studios / VKhUTEMAS. Contributed to exhibitions (from 1918). Taught at the Leningrad Institute of Communal Construction Engineers (1930–1932); Ilya Repin Institute of Painting, Sculpture and Architecture (from 1932).
Покаржевский Петр Дмитриевич
Попов Иван Васильевич
Сычков Федот Васильевич
Тимошенко Лидия Яковлевна
YAKOVLEV Vasily Nikolayevich
1893, Moscow — 1953, MoscowPainter, graphic artist, painting restorer, art and literature expert. Studied at the Moscow University department of mathematics (1911–1916), Vasily Meshkov’s studio in Moscow (1913–1914) and the Moscow School of Painting, Sculpture and Architecture (1914–1917). Worked as a restorer in the Central Restoration Studios (1924–1927); head of the restoration department at the State Museum of Fine Arts in Moscow (1927–1932), chief artist at the All-Union Agricultural Exhibition (1938–1939, 1949–1950), designer of the Soviet pavilion for the International Agricultural Exhibition in Prague (1948). Winner of the Stalin Prize (1943, 1948). People’s Artist of the USSR (1944). Full member of the USSR Academy of Arts (1947). Doctor of Art Studies (1951).
Bogolyubov Veniamin Yakovlevich
1895, Detskoye Selo near St Petersburg — 1954, LeningradSculptor; author of monumental and easel works; portraitist. Studied at the art studio of the Kronstadt Naval Fleet (before 1926); VKhUTEIN (1926–1930). Actively worked with Vladimir Ingal (from 1929). Contributed to exhibitions (from 1935). Winner of the Stalin Prize (1941) for the sculpture Sergo Ordzhonikidze (1937) together with Vladimir Ingal.
Ingal Vladimir Iosifovich
1901, Ekaterinodar — 1966, LeningradSculptor; author of monumental and easel works; teacher. Studied at Vasily Meshkov’s private art studio in Moscow (1915); R. Rikha’s sculpture studio in Rostov-on-Don; Stepan Erzya’s studio in Baku; VKhUTEIN in Leningrad (1926–1930). Winner of the Stalin Prize (1941) for the sculpture Sergo Ordzhonikidze (1937) together with Veniamin Bogolyubov.
Васильев (Суходольский) Борис Васильевич
Веденеев Александр Никифорович
Долгоруков Николай Андреевич
Корин Павел Дмитриевич
Kotov Pyotr Ivanovich
1889, Vladimirovka, Astrakhan Province — 1953, MoscowPainter, graphic artist, monumentalist, genre artist, portraitist, author of still lifes, landscapist. Studied at the Kazan School of Art (1903–1909) and at the Higher School of Art, Imperial Academy of Arts (1909–1916). Contributed to exhibitions (from 1916). Taught at the Astrakhan Free Art Studios (1919–1922), Kiev and Kharkiv Institutes of Art (1937–1941), the Institute of Cinematography (1944–1948) and the Vasily Surikov Institute of Art (1949–1950). Professor (1940). Honoured arts worker of the RSFSR (1946), full member of the Academy of Arts of the USSR (1949).
Lukomsky Ilya Abelevich
1906, Polotsk, Vitebsk Province — 1954, MoscowPainter, graphic artist. Studied at the Red Army art studio in Mogilev (1920–1922); VKhUTEMAS / VKhUTEIN in Moscow, monumental sculpture department (1922–1930). Contributed to exhibitions (from 1929). Worked as a draughtsman and designer at the decoration studios of the Army’s political agitation unit in Mogilev and the Mitrophan Grekov Studio of Military Artists.
Пискарёва Маргарита Алексеевна
Plastov Arkady Alexandrovich
1893, Priskmikha (Simbirsk Gubernia) - 1972, Prislonikha (Ulyanovsk Gubernia)Painter, graphic artist. Studied under Archangelsky at the Simbirsk Theological College (1908-1912), at the Stroganov School of Art and Industry (1912-1914, occasional student), advised by Fyodor Fedorovsky (1914-1917) and studied sculpture under Sergei Volnukhin at the Moscow School of Painting, Sculpture and Architecture and painting under Leonid Pasternak, Alexei Korin, Apollinary Vasnetsov and Alexei Stepanov in studios. Contributed to exhibitions (from 1921).
Проскуряков Владимир Николаевич
Романов Петр Петрович
Садиленко Юрий Харлампиевич
SHEGAL Grigory Mikhailovich
1889, Kozelsk, Kaluga Province — 1956, MoscowPainter. Studied at the School of Drawing, Society for the Encouragement of the Arts (1912–1916) in St Petersburg / Petrograd; Petrograd State Free Art Studios (1917–1918); VKhUTEMAS (1922–1925) in Moscow. Contributed to exhibitions (from 1913). One of the founders and teachers of the Free Art Studios (1918–1922), contributed to the establishment of the Museum of Painting Culture in Tula. Professor at the Moscow Institute of Fine Arts (from 1937), professor of the art department at the All-Union Institute of Cinematography (from 1945). Author of art essays and the book Colors in Painting (1957).
Белов Кондратий Петрович
Efanov Vasily Prokofyevich
1900, Samara — 1978, MoscowPainter, graphic artist, teacher. Studied at the painting studio at the Samara University (1917–1921); State Free Art Studios in Samara (from 1919); under M. Stepanov at the Samara University (1917–1921); Dmitry Kardovsky’s Studio on Tverskaya (1921–1926), took lessons from Abram Arkhipov (1922). Contributed to exhibitions (from 1927). Member of the Union of Artists (1932). Taught at various art schools (1948–1957, 1959–1978). Contributed to the Storming of Perekop panorama (1935–1938). Full member of the USSR Academy of Arts (1947). Professor (1948). People’s Artist of the USSR (1965). Winner of the Stalin Prize (1941, 1946, 1948, 1950, 1952). Silver medal from the Ministry of Culture of the USSR (1958). Bronze medal at the World Exhibition in Brussels (1958).
Крыжановская Анна Владимировна
Малютина Ольга Сергеевна
Никулин Андрей Осипович
Овсянников Леонид Федорович
Сварог (Корочкин) Василий Семенович
Трофимов Яков Дмитриевич
Чуйков Семен Афанасьевич
Шиллинговский Павел Александрович
Gerasimov Alexander Mikhailovich
1881, Kozlov — 1963, MoscowPainter, graphic artist, theatrical designer, architect. Studied painting (1903-10) and architecture (1910-15) at the Moscow School of Painting, Sculpture and Architecture and worked at Konstantin Korovin\'\'s studio. Contributed to exhibitions (from 1906).
Данько (Данько-Олексеенко) Елена Яковлевна
Konchalovsky Pyotr Petrovich
1876, Slavyansk (Kharkiv Gubernia) - 1956, MoscowPainter. Studied at a school of drawing in Kharkiv, evening classes at the Stroganov Central School of Technical Drawing in Moscow, Academic de Rodolphe Julian in Paris (1897-98) and the Higher School of Art, Imperial Academy of Arts (1898-1905). Attended Konstantin Korovin\'s studio at the Moscow School of Painting, Sculpture and Architecture (until 1909). Helped to organise the first Jack of Diamonds exhibition (1910) and contributed to all other Jack of Diamonds exhibitions (1912-1927). Contributed to the exhibitions of the Golden Fleece (1910), Salon d\'Automne (1908, 1910), Salon des Independants (1910-1912) and the Moscow Fellowship of Artists (1911). Founding member of the Moscow Painters (1924-1925).
Костров Николай Иванович
Рындзюнская Марина Давыдовна (Матильда Давидовна)
Шурига Пелагея Николаевна
Эвенбах Евгения Константиновна
Vasilyev Yury S.
No biographical information available.Гапоненко Тарас Гурьевич
Коваленко Иван Васильевич
ODINTSOV Vladimir Grigoryevich
1902, Novosil, Tula Province — 1957, MoscowPainter, graphic artist, poster designer, teacher; created historical, battle and genre paintings, monumental panels, portraits and landscapes. Studied in Novosil; in Moscow at the Mikhail Kalinin Art and Handicrafts College (1922–1925), Konstantin Juon’s studio and VKhUTEMAS, monumental sculpture department (1926–1930). Contributed to exhibitions (from 1931). Created monumental panels for street decorations in Moscow (1930s); contributed to a panel for the World Exhibition in Paris (1937); produced the High-Achieving Livestock Farmers panel for the main pavilion of the All-Union Agricultural Exhibition; contributed to the Distinguished Individuals of the Soviet Land project headed by Vasily Efanov (1939) for the Soviet pavilion at the World Exhibition in New York (1939); headed the Okna TASS political poster studio in Perm (1941). Seconded to Gzhatsk (1942), then to Stalingrad (December 1942 — January 1943). Taught at art schools in Moscow.
Рыбников Михаил Степанович
Фаворский Владимир Андреевич
Мануйлова Ольга Максимилиановна
Тоидзе Ираклий Моисеевич
КАЗАКОВ Александр Васильевич
Лишев Всеволод Всеволодович
Nikolayev Yaroslav Sergeyevich
1899, Shavli, Kovno Province — 1978, LeningradPainter. Studied at Kazimir Zelenevsky’s studio in Tomsk (1917); Tomsk University, law department (1917–1918); Irkutsk University, history and philosophy department (1919–1920); State Free Art Studios in Irkutsk (1925–1928). Contributed to exhibitions (from 1927). Member of the Leningrad Union of Artists (1932), chairman of its board (1948–1951). Lived in Leningrad during the Siege; created a number of paintings dedicated to the heroic defence of the city (1941–1945). Honoured Artist of the RSFSR (1956), People’s Artist of the RSFSR (1975).
SEREBRYANY Joseph Alexandrovich
1907, Horodnia, Chernihiv Province — 1979, LeningradPainter, poster designer. Studied at the Poltava Studio of Art (1922–1923), the Leningrad College of Art and Industry (1924–1927) and VKhUTEIN / Institute of Proletarian Fine Arts (1927–1931) in the theatrical design department, and simultaneously at Vasily Savinsky’s private studio. Contributed to exhibitions (from 1925). Worked as a designer (1931–1937). Contributed to the design of the film Counterplan (1941) at Lenfilm Studios. Lived in besieged Leningrad (1941–1945); worked as a poster designer. Taught at the Ilya Repin Institute of Painting, Sculpture and Architecture (1948–1979). Professor (1946). Chairman of the Leningrad Union of Artists (1948–1952; 1954–1958). Corresponding member of the USSR Academy of Arts (1947). People’s Artist of the USSR (1965).
SEROV Vladimir Alexandrovich
1910, Emmaus, Tver Province — 1968, MoscowPainter, graphic artist, book and poster designer. Studied at the VKhUTEIN / Institute of Proletarian Fine Art / Ilya Repin Institute of Painting, Sculpture and Architecture (1927–1933) in Leningrad. Member of the Union of Artists (1932). Taught at the Ilya Repin Institute of Painting, Sculpture and Architecture (1933–1942). Designed posters for the Fighting Pencil group of artists (1941–1942). People’s Artist of the RSFSR (1956), People’s Artist of the USSR (1958). Corresponding member and academic secretary (1947), full member (1954), Vice President (from 1958), President (1962–1968) of the USSR Academy of Arts, corresponding member of the East German Academy of Arts (1963). Member of the Awarding Committee for the Lenin and State prizes (from 1960). Winner of the Stalin Prize (1948,1951). Awarded medals “For the Defence of Leningrad”, “For Valiant Labour in the Great Patriotic War 1941–1945”, “For the Victory Over Germany in the Great Patriotic War 1941–1945” (1944–1945), Order of Lenin (1957), gold medal from the USSR Ministry of Culture (1958), silver medal at the World Exhibition in Brussels (1958), Order of the Red Banner of Labour.
Сидоров Михаил Иванович
Иванов Виктор Семенович
Lebedeva (Darmolatova), Sarah Dmitriyevna
1892, St Petersburg — 1967, MoscowSculptress, easel painter, portraitist. Studied at the School of Drawing, Society for the Encouragement of Arts (1906) and Mikhail Bernstein and Leonid Sherwood School of Painting, Drawing and Sculpture (1910-1914). Contributed to exhibitions (from 1918). Honoured Artist of the RSFSR (1943). Corresponding member of the Academy of Arts of the USSR (1958). Awarded silver medal at the International Exhibition in Paris (1937) and Brussels (1958).
Попов Пантелеймон Васильевич
Казанцев Анатолий Алексеевич
Васильев Петр Васильевич
Голубчиков Николай Порфирьевич
Kukryniksy
Group of artists, consisting of Porfiry Krylov, Mikhail Kupriyanov, and Nikolai Sokolov. Worked together (from 1925) as painters and illustrators, creating political posters and caricatures. Drew under the joint signature Kukryniksy (KUpriyanov, KRYlov, NIK. Sokolov) (from 1929). Winners of the Stalin Prize (1942, 1947, 1949, 1950, 1951), Lenin Prize (1965), State Prize of the USSR (1975), State Prize of the RSFSR (1982), Ilya Repin State Prize of the RSFSR (1982). Silver medal from the USSR Ministry of Culture (1958), gold medal at the World Exhibition in Brussels (1958), gold medal from the USSR Academy of Arts (1974).
Kupriyanov Mikhail Vasilyevich
1903, Tenneshi, Kazan Province — 1991, MoscowPainter, graphic artist, master of landscapes and genre scenes. Studied at the Tashkent Central Art Studios (1920–1921) and VKhUTEMAS / VKhUTEIN in Moscow, the faculty of graphic art (1921–1929). Contributed to exhibitions (from 1929).
Krylov Porfiry Nikitich
1902, Shelkunovo, Tula Province — 1990, MoscowPainter, graphic artist. Studied at the art studio at the cartridge plant in Tula (1918–1921) and VKhUTEMAS / VKhUTEIN in Moscow (1921–1928). Post-graduate student at VKhUTEMAS / VKhUTEIN (1928–1929). Member of the presidium of the USSR Academy of Arts (1947–1949).
Sokolov Nikolai Alexandrovich
08 (21).07.1903, Tsaritsyno, near Moscow – 17.04.2000, MoscowPainter, graphic artist, master of still lifes, landscapes and genre scenes. Studied at the Proletcult studio in Rybinsk (1920–1923) and VKhUTEMAS / VKhUTEIN in Moscow (1923–1929).
Свешников Дмитрий Константинович
Ширякин Николай Михайлович
Волков Василий Романович
Грубе Александр Васильевич
Иогансон Борис Владимирович
Корецкий Виктор Борисович
Lanceray, Yevgeny
Nalbandyan Dmitry Arkadyevich
1906, Tiflis — 1993, MoscowPainter. Studied at Moisei Toidze’s art studio (1922–1924) and the Academy of Arts in Tiflis (1924–1929). Contributed to exhibitions (from 1935). Stalin Prize winner (1946, 1951).
Прибыловский Виктор Александрович
Раевская-Рутковская Варвара Аркадьевна
Чернов Леонид Иванович
Mylnikov Andrei Andreevich
1919, Pokrovsk — 2012, St PetersburgPainter, graphic artist, monumentalist. Studied architecture (1937–1940) and painting (1940–1946) at the Ilya Repin Institute of Painting, Sculpture and Architecture. Contributed to exhibitions (from 1946). Taught at the Ilya Repin Institute of Painting, Sculpture and Architecture (from 1947), headed the studio of monumental painting (from 1953). Professor (1957). Full member of the Academy of Arts of the USSR (1966). People’s Artist of the USSR (1976). Winner of the Stalin Prize for "On Peaceful Fields" (1951). Awarded a silver medal by the Ministry of Culture of the USSR for "Awakening" (1958).
Пшеничников Василий Сергеевич
Беньков Павел Петрович
Волков Валентин Викторович
Вольштейн Моисей Львович
Костенко Федор Тимофеевич
Фильберт Александр Александрович
Ефремов Борис Иванович
Истомин Иван Григорьевич
Кербель Лев Ефимович
Киселев Виктор Васильевич
Крандиевская Надежда Васильевна
Nevezhin Fyodor Ivanovich
1902, Bezhitsa, Orel Province — 1964, MoscowPainter, teacher. Studied at the art studio in Bryansk (1921) and VKhUTEMAS / VKhUTEIN in Moscow (1922–1930). Taught at the Vasily Surikov Institute of Art (from 1948, assistant professor; professor from 1953).
Нисский Георгий Григорьевич
Носов Михаил Михайлович
Потехин Алексей Александрович
Рянгина Серафима Васильевна
Абдуллаев Микаил Гусейн
Bubnov Alexander Pavlovich
1908, Tiflis — 1964, MoscowPainter, graphic artist, book artist. Studied at a studio of art in Atkarsk (early 1920s) and VKhUTEIN in Moscow (1926–1930). Contributed to exhibitions (from 1928). Honoured Artist of the RSFSR (1955), corresponding member of the USSR Academy of Arts (1954). Winner of the Stalin Prize (1947, 1948).
Волков Юрий Васильевич
Гершаник Роман Васильевич
Матюх Вера Федоровна
MERKUROV Sergei Dmitrievich
1881, Aleksandropol, Erevan Province —1952, MoscowMonumental sculptor; designer of numerous monuments to Lenin and Stalin; mastered high art techniques for producing deathmasks. Studied under Swiss sculptor Adolf Mayer; at the Academy of Arts in Munich (until 1905) under professor Wilghelm von Ruman. Lived in Paris (1905–1907). After returning to Russia, lived in Tiflis and Yalta. Moved to Moscow (1910). People’s Artist of the USSR (1943). Full member of the USSR Academy of Arts (1947). Director of the Pushkin State Museum of Fine Arts (1944–1949). Winner of the Stalin Prize, 1st degree (1941, 1951).
Митюшев Пантелеймон Михайлович
ORESHNIKOV Viktor Mikhailovich
1904, Perm — 1987, LeningradPainter, painted genre and history scenes, portraits, still lifes and landscapes. Studied under I. I. Turansky in Perm (1918); at the Perm Free Art Studios (1919–1924) and VKhUTEIN in Petrograd / Leningrad (1924–1927). Post-graduate student at the Institute of Proletarian Fine Art (1933–1936). Contributed to exhibitions (from 1933). Member of the Union of Artists (1932). Candidate of Art Studies (1949). Doctor of Art Studies (1948). Professor (1949). Corresponding (1948) and full (1954) member of the USSR Academy of Arts. People’s Artist of the RSFSR (1956), People’s Artist of the USSR (1969), State Prize winner (1948, 1950).
Сысоев Николай Александрович
FROLOVA-BAGREYEVA Lidia Fyodorovna
1907, St Petersburg — 1997, St PetersburgPainter, graphic artist, monumentalist. Studied painting at VKhUTEIN in Leningrad (1924–1930). Contributed to exhibitions (from 1927). Member of the Leningrad Union of Artists (1943). Contributed to mosaics for the third mausoleum of Vladimir Lenin (1929–1930); worked as a designer at the City Museum in Leningrad (1930); as a monumentalist at the Lapidary Factory in Stary Peterhof (1930–1931) (mosaics for Lenin’s mausoleum). Lived in Semipalatinsk (1913–1925), Arkhangelsk and Murmansk (1950–1961). Stayed in Leningrad during the Great Patriotic War; awarded the medals “For the Defence of Leningrad”, “For Valiant Labour in the Great Patriotic War”.
Цигаль Виктор Ефимович
Шепелюк Анатолий Павлович
Kholmogory
Бачинин Николай Иванович
Богатырев Владимир Федорович
Столбова Галина Сергеевна
Бортников Алексей Ильич
Volkov Alexander Vasilievich
1916, Moscow - 1978, MoscowPainter. Studied at the art studio of the All-Union Central Council of Trade Unions (1935–1937), continued his studies at the Moscow Institute of Fine Arts (1937–1942). Contributed to exhibitions (from 1943). Actively worked in genre painting, combining it with scenes from everyday life and landscapes (1950s). From the 1960s to the end of his life, he was interested mostly in landscapes and finding solutions for formal tasks in the genre. Artistic director of the Academic Dacha House of Creativity (late 1940s early1 950s),instructor at the Vasily Surikov Institute of Art in Moscow (from 1962).
Vuchetich Evgeny Viktorovich
1908, Ekaterinoslav — 1974, MoscowSculptor. Studied at the Rostov School of Arts (1926–1930), the Ilya Repin Institute of Painting, Sculpture and Architecture (1931–1933). Moved to Moscow (1935). Contributed to exhibitions (from 1937). Gold medal at the World’s Art and Industry Exhibition in Paris (1937) for the sculptural group Kliment Voroshilov on Horseback (1936). Worked at the Mitrophan Grekov Studio of Military Artists in Moscow (1943–1960). Main designer of two of the most famous Soviet war monuments: the Soviet War Memorial in Berlin’s Treptower Park (1946–1949; Stalin Prize of 1950) and the statue The Motherland Calls in Mamayev Kurgan in Volgograd (1963–1967; Lenin Prize of 1970). Winner of the Stalin Prizes (1946–1950). Full member of the USSR Academy of Arts (1953). People’s Artist of the USSR (1959). Hero of Socialist Labour (1967).
Гайваненко Анна Платоновна
Голубков Филипп Яковлевич
Gorelov Gavriil Nikitich
1880, Pokrovskoye, Moscow Province — 1966, MoscowPainter. Studied at the Penza School of Art (1898–1903) and the Higher School of Art, Imperial Academy of Arts in St Petersburg (1903–1911). Fellow of the Imperial Academy of Arts in Italy, France and Germany (1911–1912). Contributed to exhibitions (from 1904). Member of the Union of Artists (1939). Honoured Artist of the RSFSR (1947). Full member of the USSR Academy of Arts (1943). Stalin Prize winner (1950).
Гицевич Вера Адамовна
Кохан Кузьма Федорович
Кугач Юрий Петрович
Кужеленко Ольга Дмитриевна
PAVLOVSKY Heinrich Vasilyevich
1907, Kamenskoye, Ekaterinoslav Province — 1973, LeningradPainter, graphic artist, theatrical designer. Studied at the Art College in Vitebsk (1925–1929); Institute of Proletarian Fine Arts / Ilya Repin Institute of Painting, Sculpture and Architecture (1930–1937) in Leningrad. Contributed to exhibitions (from 1931). Member of the Union of Artists (1937). Taught (1937–1949, 1950–1973). Assistant professor (1940), Candidate of Art Studies (1946). Worked as a designer for the Belorussian State Publishing House in Minsk, contributed to designing the Belorussian Agricultural and Industry Exhibition (1929–1930); theatrical designer of the Alexander Pushkin Academic Drama Theatre after evacuation from Leningrad to Novosibirsk during the war (1941–1942). Contributed to the Heroic Defence of Leningrad Exhibition (1944) (from 1946 to 1953 — the Museum of Lenin - grad Defence).
Подляский Юрий Станиславович
RESHETNIKOV Fyodor Pavlovich
1906, Sursko-Litovskoye, Ekaterinoslav Province — 1988, MoscowPainter. Studied at the workers’ art school in Moscow (1926–1929); VKhUTEIN, graphic department (1929); Moscow Institute of Fine Arts (1929–1935). Contributed to exhibitions (from 1930). Member of the presidium of the USSR Academy of Arts (1953–1958, 1962–1966, 1970–1974), Vice President of the USSR Academy of Arts (from 1974). People’s Artist of the USSR, full member of the USSR Academy of Arts (1953). Winner of the Stalin Prize (1949, 1951). Bronze medal at the World Exhibition in Brussels (1958). Silver medal from the USSR Academy of Arts (1959).
Соловьев Михаил Михайлович
Стронк Георгий Адамович
Цейтлин Григорий Израилевич
Якобсон Александра Николаевна
Яр-Кравченко Анатолий Никифорович (Кравченко Анатолий Николаевич)
Бри-Бейн Мария Феликсовна
Ленинградский завод художественного стекла (г. Ленинград)
Vikhtinsky Viktor Ivanovich (with a team)
1918, Kharkiv — 2003, KharkivPainter, graphic artist. Studied at the Art College in Kharkiv (1934–1937) and the Kharkiv Art Institute (1938–1941, 1948–1950). Contributed to exhibitions (from 1950). Member of the Union of Artists of the USSR (1951). Worked as a designer of holiday street decorations and museum exhibitions (1950s). Team: Boris Zhukov (1921–1974), Evgeny Levin (1922–1993), Leonid Chernov (1915–1990, Honoured Artist of the Ukrainian Soviet Republic, 1966), Leonid Shmatko (1917–1981, Honoured Artist of the Ukrainian Soviet Republic, 1977).
Гагарин Александр Гаврилович
Гильманшин Лукман Гильманович
Денисовский Николай Фёдорович
Жуков Николай Николаевич
Избеков Иоаким Дмитриевич
Кожин Павел Михайлович
Kosmin Ivan Vladimirovich
1882, Slepukha, Yelets District, Oryol Province — 1973, LeningradPainter, portraitist. Studied at the Nikolai Seliverstov School of Art in Penza (1909–1916); the Higher School of Art, Imperial Academy of Arts (1911–1916). Contributed to exhibitions (from 1929). Member of the Union of Artists (from 1932). Corresponding member of the Academy of Arts of the USSR (from 1949), honoured arts worker of the RSFSR (1957).
Нечитайло Василий Кириллович
Цыплаков Виктор Григорьевич
Малютин Марк Иванович
Self-Portrait
- 1918
- Canvas, oil. 80,5 x 65
- The State Russian Museum
- Ж-2400
Фигура «Женщина, вышивающая красное знамя»
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- СФ-136
Пионерки двадцатых годов
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-878
Портрет С. М. Буденного
- 1923
- Cardboard, oil. 42 х 27
- The State Russian Museum
- Ж-6475
Портрет В. И. Ленина
- 1924
- Canvas, oil. 97,1 х 80,3
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-37
Портрет М. А. Тройницкой
- 1924
- Canvas, oil.
- The State Russian Museum
- Ж-8790
Портрет В. И. Ленина
- Cardboard, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1347 АОМИИ
Фигура милиционерки
- 1920
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-118
Komsomol Girls. Younger Generation from Outside Moscow
- Canvas, oil.
- The State Russian Museum
- Ж-5683
Портрет И. Б. Кустодиевой
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-919
Портрет Н. П. Охлопкова
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-1002
У мавзолея Ленина (Траурный день памяти Ленина)
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2009 АОМИИ
Mikhail Frunze on Horseback
- Circa 1927
- Canvas, oil. 197.5 x 173.5
- The State Russian Museum
- ЖБ-2008
Mikhail Vasilyevich Frunze (1885–1925): Po li - ti cal organizer, Red Army commander, leading Soviet and Communist Party figure.
Woman Worker (Portrait in Blue)
- 1927
- Canvas, oil.
- The State Russian Museum
- ЖБ-1325
Alexei Pakhomov’s Woman Worker (Portrait in Blue) occupied a central place at the Circle of Artists exhibition held at the Russian Museum in 1927. Although the artist’s model was his wife, a worker in a cigarette factory, the image is clearly more of a type than a concrete individual. Pakhomov utilises a number of devices to underline the monumentality and grandeur of the image. The woman with the light brown hair is depicted from the knees upwards. The proportions of her body are slightly magnified in comparison with real life, evoking the sensation that she is “cramped” within the canvas. The dynamic turn of the head and torso is halted by the solemn rhythms of the folds of her dress, remotely reminiscent of the garbs worn by the figures in early Renaissance frescoes. The artist later recalled: “Mental clarity, the purity of youth and its aspiration towards nobility and the sublime are exceedingly attractive. I unwittingly highlighted her wide-open gaze, harmonic and cheerful carriage, and readiness for action. I began to increasingly scrutinise and appraise the art of antiquity and the High Renaissance.”
В Крыму (Портрет В. М. Грабарь, жены художника)
- Canvas, oil.
- Симферопольский художественный музей
- Ж-2
По комсомольской путевке
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2171
Физкультурные игры на стадионе
- 1927
- Canvas, oil. 166 x 249
- The State Russian Museum
- ЖС-93
Conductress
- Canvas, oil.
- The State Russian Museum
- Ж-9186
In the 1920s, like many other artists, Alexander Samokhvalov engaged in quests for typical features of modern life. The rapid changes were particularly evident in the images of women, who assimilated new social roles, professions, lifestyles and clothes. The conductress selling tickets and maintaining law and order in the tram is like a new goddess or commandress of electricity. The proportions of her static figure date back to images of pagan sculptures – stone stele – and Old Russian frescoes. Illuminated by flashes of electric light, she dominates the futuristic and dynamic interior of the tram thundering along the rails. The artist wrote about this work: “The main thing that I wanted to say was that the colossal, terrible force of electricity – previously only considered subordinate to Elijah prophet and Zeus the thunderer – is now subordinated to a simple woman worker. Were she to come face to face with Athena in her chariot, it is Athena and not the conductress who would be surprised.”
In the Far East. Red Army Soldier
- Canvas, oil.
- The State Russian Museum
- Ж-8392
Молодая работница
- 1928
- Canvas, tempera. 65 x 50,5
- The State Russian Museum
- Ж-7562
Пионервожатая
- 1928
- Canvas, oil.
- The State Russian Museum
- ЖС-1226
Стройка (Стройка совхоза)
- plywood, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-410
У сепаратора
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1282
Эскиз плаката «Молодежь иди в соцсоревнование и ударничество»
- 1928
- Paper, , gouache. 43,6 x 30,2
- The State Russian Museum
- РС-6307
Woman with a File
- 1929
- Canvas, oil. 107 х 70
- The State Russian Museum
- Ж-7564
Группа «Смычка города с деревней»
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-114
Комсомолка 20-х годов в юнгштурмовке
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-1101
Пионеры
- 1929
- Paper, watercolours. 22,5 х 14,3
- The State Russian Museum
- РС-20144
Физкультурница
- 1929
- Canvas, oil. 82,5 х 63,5
- The State Russian Museum
- Ж-6379
Portrait of Ivan Pavlov
- 1930
- Canvas, oil.
- The State Russian Museum
- Ж-4341
Ivan Petrovich Pavlov (1849–1936): Physiologist, developed the concept of the conditioned reflex. Member of the Imperial Academy of Sciences (1907) and the Academy of Sciences of the USSR. Awarded the Noble Prize (1904).
In 1925, in one of his letters to his biographer, Mikhail Nesterov noted that he had for many years been living not among the “brotherhood” of artists, but among professors and scientists. Such people urged the artist to paint a portrait of Ivan Pavlov, showing him photographs and portraits of the famous Russian scientist. Their “matchmaking” had little success until the two men actually met in 1930. Nesterov was taken by surprise: “Ivan Pavlov was not a bit like the ‘official’ photos I had been shown. I resolved to paint his portrait.” This meeting marked the beginning of a long and close friendship between the artist and the scientist. Invited to the scientific “village” of Koltushi, Nesterov decided to paint a portrait of Pavlov sitting on the covered veranda where he liked to work. The artist’s interest in the scholar’s personality and “explosive” temperament is reflected in the speed with which he painted his portrait. Finished after only three weeks, Portrait of Ivan Pavlov was acquired by the Institute of Experimental Medicine. After Pavlov fell seriously ill in 1933, Nesterov decided to paint a second portrait, which was immediately acquired by the Tretyakov Gallery in Moscow. Nesterov presented Pavlov with a repetition of the first portrait on his eightieth birthday. In 1940, the Institute of Experimental Medicine presented the original portrait to the Russian Museum, retaining the repetition for itself.
After Ivan Pavlov’s death, Nesterov spent several summers in Koltushi at the invitation of his family. He later wrote memoirs of Pavlov and the history of the creation of the portrait.
We Will Liquidate the Gap
- 1930
- Canvas, oil. 65 х 85
- The State Russian Museum
- Ж-7677
In his title, the artist uses part of the popular slogan “Whatever it takes, we will close the gap”. This phrase was about being victorious over something, such as, “we will destroy the kulak (affluent peasant) as a class”, etc.
Youth. Laughter
- 1930
- Canvas, oil. 94 x134
- The State Russian Museum
- Ж-1812
In the post-revolutionary years of establishing a new ideological system, the tides turned in Juon’s art when he attempted to find themes in sync with the times. From the second half of the 1920s to the beginning of the 1930s, the artist focused on a specific genre form, something of a “narrative portrait”, in which he captures typical characters of the age — Komsomol members, recreational athletes, parachutists… in other words, the new Soviet youth. He also touches on the theme of the Russian village, choosing archetypical village girls with simple faces and red cheeks, exemplifying the cult of physical fitness and moral rectitude. He most likely encountered many such girls in the village of Ligachevo outside Moscow, which he called his “aesthetic refuge”, and where in 1908 he firmly established his studio.
В модельном цехе
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2202
В начальной школе (Всеобуч)
- Canvas, oil.
- Самарский областной художественный музей
- Ж-2055
Группа «Активисты»
- 1930
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-135
Колхозница с тыквами
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-268
Народный комиссар здравоохранения Николай Александрович Семашко
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-1180
Откатчица
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1759
Пионерка
- 1930
- Oil. 80 × 45,5
- Донецкий республиканский художественный музей
- Ж-1036
Подсчет трудодней
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1655
Постройка железной дороги
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-30
Спорт
- paper mounted on plywood, oil, .
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-175
Agitator Worker
- 1931
- Canvas, oil. 124 х 71
- The State Russian Museum
- Ж-7496
Dymshits-Tolstaya believed that what was important in a picture was not the appearance of the depicted, but rather its social significance. In her memoirs, the artist wrote: “[…] inspired by this new man and this new woman, [...] I decided to start making a portrait, an image, of these heroines of the first five-year plans [...] Among the members of a literary circle there was one worker, a poetess of some talent, who served as my model for the picture Agitator Worker.”
Comrade Stepanov
- Blacksmith at the Lenin’s Way Commune
- 1931
- Canvas, oil. 63 х 41
- The State Russian Museum
- ЖБ-1786
Portrait of Iosif Giryat, Shock Worker of the Karl Marx Factory
- 1931
- Canvas, oil. 96,5 х 79
- The State Russian Museum
- ЖС-1209
The artist’s inscription on the canvas and the stretcher: “Portrait of Iosif Ivanovich Giryat, blacksmith shock worker of the Karl Marx Factory” “painted by artist V. Zverev on the shopfloor”.
Shock Workers at the Red Dawn Factory
- 1931
- paper mounted on plywood, oil. 66,5 х 91,5
- The State Russian Museum
- Ж-9568
Бригада во время перерыва
- 1931
- Canvas, oil. 123 x 99
- The State Russian Museum
- ЖБ-1727
Красноармейцы-лыжники
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-185
Пионеры у единоличника
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1688
Портрет Ивана Кузнецова
- Paper, mixed media.
- Магнитогорская картинная галерея
- Г-592
Портрет Прониной Пелагеи – премированной ударницы коммуны «Красивая Меча»
- 1931
- Canvas mounted on cardboard, oil. 55 х 39
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-691
Столяр
- 1921-1942
- Canvas, oil. 106,5 х 97
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Стройка СССР
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-65
Ударник Осокин
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-118
Фабрика людей
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-615
Female Delegates of the Sixth Congress
- 1932
- Canvas, oil. 101 x 149
- The State Russian Museum
- ЖС-2059
The 6th All-Union Congress of Soviets was held in Moscow in March 1931, and included representatives of Soviets (councils) from all Republics. The congress’ programme consisted of a report from the government on state farm and collective farm construction, questions regarding the Constitution of the USSR, and other matters. The congress approved the policies of the government and proposed efforts towards the further development of industry and agriculture. Also, the Tajik Soviet Republic was officially constitutionally formed and accepted into the USSR, which is reflected in Yanovskaya’s painting.
Getting Their Photograph Taken
- 1932
- Canvas, oil. 148 x 111
- The State Russian Museum
- Ж-8828
The main heroes of Fyodor Bogorodsky’s works were sailors, whom the artist referred to as his “brothers”. Himself a former commissar with the Volga and Don fleets during the Civil War, Bogorodsky could not help feeling an affinity with their coarse yet romantic lifestyle. Calling himself “a sailor within the ranks of artists”, he even signed his articles on art for the Nizhny Novgorod Commune “Sailor Bogorodsky”. In 1931, the artist spent six months on naval vessels in the Black Sea, visiting Sebastopole, Odessa and Batumi: “This voyage was decisive in setting me on the path of a ‘naval painter.’ I will never lose touch with my desire to dedicate all my main works to my beloved Red Navy and sailors.” These cordial notes are reflected in Getting their Photograph Taken. Chaffing good-naturedly at the gallant sailor and his faithful female companion naïvely posing against a fake landscape, the artist also invests their images with a healthy dose of sympathy and respect. The sailor possibly brought his clearly expectant wife to be photographed on the eve of a long voyage, in order to have a keepsake to warm his heart in the long days apart. While Bogorodsky’s images are collective and devoid of concrete prototypes, a hint of self-portraiture can nevertheless be discerned in the guise of the sailor.
Girl in a Sports Shirt
- 1932
- Canvas, oil. 102 x 64
- The State Russian Museum
- Ж-4419
Girl in a Sports Shirt won a gold medal at the World Fair in Paris in 1937. One of the most famous works of Soviet art, it was regarded as a landmark in the artist’s oeuvre. Alexander Samokhvalov recalled: «It was a special joy to paint images of my contemporaries in those years.» The painting was acclaimed by fellow artists and critics alike, while the heroine was hailed as a «Soviet Mona Lisa» at the Exposition Universelle. The artist depicts Yevgenia Adamova, a teacher and activist who retained her freshness and vitality all her life. She is a typical Soviet citizen of the 1930s — spontaneous, enthusiastic and purposeful. Samokhvalov confirms his ideal of a simple beauty not only in his model, but also in the painting — austere, laconic and elegant.
The clear architectonics of the composition, broad painting, frescolike texture and dynamic image contain features of monumentality. Girl in a Sports Shirt embodies the artist’s concept of the era and «a remarkable contemporary, the sort of girl who did not exist before.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 347.
Militarised Komsomol
- 1931-1933
- Canvas, oil, tempera. 198,5 х 276
- The State Russian Museum
- Ж-8235
In this large painting, Samokhvalov depicted the members of a youth communist organisation, who displayed their determination as a group as they were training in order to defend their country. Samokhvalov painted the picture to celebrate the 15th anniversary of the Red Army. The painter was impressed by what he saw at the shooting range: “there was a group of girls, lying down and improving their sniper skills. The bright and colourful clothes of these young people enhance the painting’s colours. The formation of the Komsomol members comes right at the spectator as the girl with a gas mask brings up the rear. There are studies for this painting: “Komsomol Youth” and “Girl at the Military School”.
Red Army Commanding Officers
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-53
Shock Worker (Builder of Socialism)
- 1932
- Canvas, oil. 107 х 71,5
- The State Russian Museum
- ЖБ-2013
This portrait is not so much an attempt to depict the features and character of a specific person as to synthesise a perfect specimen of the new Soviet man. Assuming the status of an act of heroism, labour in the USSR is shown as a state of unceasing readiness to scale new industrial heights. This state is underscored by the youth’s posture and facial expression. The bird’s-eye view of an industrial landscape serves as a suitable background for this monumental figure and indicates the huge scale of socialist construction.
Youth
- 1932
- Canvas, oil. 110 х 83
- The State Russian Museum
- Ж-4418
The composition of this work relates it to the cycle of double portraits painted by Fyodor Bogorodsky in 1932, directly recreating or indirectly hinting at the subject of photography. The artist carries on indirect polemics with the increasingly popular genre of photography, demonstrating the unique possibilities of painting in the creation of an artistic image. This series of portraits opened a new stage in Fyodor Bogorodsky’s oeuvre, following a major one-man show in 1931. Sailors became the new heroes of his works. As Bogorodsky later recalled: “After the exhibition, I travelled to the Black Sea and spent six months on warships, infected by the cheerfulness and sparkling courage of the young sailors.” Youth can be regarded as the artist’s painterly tribute to his new friends.
В свиноводческом совхозе
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-319
Группа «Готовы к обороне»
- 1932
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-115
Группа «Готовы к обороне»
- 1932, 1936
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-116
Комсомолец
- 1932
- Canvas, tempera. 142,5 x 64
- The State Russian Museum
- Ж-10396
Лыжница
- Canvas, oil.
- Луганский художественный музей
Осоавиахимовка
- 1932
- Canvas, tempera. 120 x 116
- The State Russian Museum
- ЖБ-1787
Портрет ударника (Краснознаменец Жарновский)
- 1932
- Canvas, oil. 64 х 55
- The State Russian Museum
- Ж-9402
Girl with a Ball
- 1933
- Canvas, oil. 55 х 46,5
- The State Russian Museum
- Ж-9187
Like many of Samokhvalov’s paintings, this intimate work creates the impression of a lost fresco fragment. The artist was convinced that modern life should be depicted in monumental forms, and took inspiration from the art of Antiquity, the Renaissance and Ancient Rus. He strove to embed the depicted moment into historical perspective, to underline its significance, to shroud it in a romantic aura. His models were for the most part young people, the embodiment of a splendid utopian future which they were called upon to create and inhabit. In the role of a dreamy young athlete Samokhvalov depicted his eldest daughter Maria.
Portrait of Sergei Yudin
- 1933
- Canvas, oil. 99 х 80
- The State Russian Museum
- Ж-1855
Sergei Sergeyevich Yudin (1891–1954): Surgeon. Member of the Academy of Medicine of the USSR (1944), winner of the Stalin Prize (1942, 1948) and the Lenin Prize (1962, posthumously).
Race
- Variant of the painting of the same name (1930, Galleria d’Arte Moderna di Ca’Pesaro, Venice)
- 1932–1933
- Canvas, oil. 229 х 259
- The State Russian Museum
- Ж-7741
The art of Alexander Deineka reflects the aspiration towards new forms of public life — labour, industry, sport, and images of the new citizen. Race contains all the main formal features of Alexander Deineka’s style — a montage-rhythmic structure of the composition, laconic tones, and an austere and graphic style of painting. Race combines concrete elements, generalisation, symbols, images, the spirit of romanticism, and notes of lyricism. Man personifies the motif of freedom and resolute integrity.
Self-Portrait (Artist)
- 1933
- Canvas, oil. 73 x 66
- The State Russian Museum
- ЖБ-1516
A growing predilection for figurativeness can be noted in Kazimir Malevich’s later works, particularly his portraits. Although this fascination might at first sight seem induced, it does not in actual fact contradict the internal disposition of an artist who «in the depth of his soul always remained a classic.» In Self-Portrait, Malevich depicts himself dressed in the attire of an Italian doge. His painterly devices are reminiscent of Renaissance frescoes. The artist underlines the reticent expression on his face, his majestic pose and the unusual gesture of the hand, more typical of the depiction of a saint in an icon than a self-portrait. All these details are, however, deliberate, leading us away from the characteristics of a concrete personality. Malevich therefore felt compelled to make the inscription Artist on the back of the canvas. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 344.
In this Self-Portrait from 1933, which Malevich titled Painter, the artist presents himself in the typical costume of an Italian Doge, which was the name given to the leaders of the maritime republics of Venice and Genoa. It is a costume with a rather geometric structure, and which combines the colors of black, white, red and green.
The positioning of his hand, as though he were holding an invisible book, sends a message to his successors and illustrates the key to gaining an understanding of Suprematism, in which true reality is a world without objects.
In a literary piece from the early 1920s, titled Painter, Malevich wrote the following epilogue: «The painter describes a world and shows it to the observer. The painter needs to be surrounded by things, because through him it is possible to discover new visions; a new symmetry in nature. The painter finds what we customarily refer to as ‘beauty’».
In this, his final self-portrait, Malevich presents himself as the Creator, the bringer of higher knowledge and liberty; a demiurge who governs the world according to his own rules; a painter who refuses be controlled by the irrational forces of the historical period in which he finds himself. As if to counter his own doubts and internal creative contradictions, his human imperfection and the miseries he experienced over the course of his life, Malevich is asserting his right to establish a posthumous myth of himself for his successors.
Malevich died in May 1935. His funeral ceremony and burial, organized by his followers and friends, constituted the last public act of Suprematism in Soviet Russia. The ceremony took place at the St Petersburg Union of Artists, where an exhibition of artworks took place while the satirical writer Daniil Ivanovich Kharms read poems. The funeral procession took place on Nevsky Prospect, which was then known as the 25th of October Prospect. Malevich’s coffin, which was designed in the Suprematist style, was laid on the open bed of a truck, with his Black Square painting displayed on the truck’s hood. After his cremation in Moscow, the urn containing Malevich’s ashes was buried in the village of Nemchinovka, near a solitary oak tree.
Above the final resting-place of Kazimir Malevich, the self-styled «President of the Universe», a tombstone was laid. It was designed by Nikolai Suetin, and was in the shape of a cube, decorated with the image of the painter’s Black Square.
Woman Worker
- 1933
- Canvas, oil. 70 x 58
- The State Russian Museum
- Ж-9494
A growing predilection for figurativeness can be noted in Kazimir Malevich’s later works and above all his portraits. His painterly devices are reminiscent of the Renaissance frescoes The artist underlines the reticent expression of the faces, the majestic poses and the unusual gesture of the hands, more typical of the depiction of a saint in an icon than a self-portrait. All these details are, however, deliberate and premeditated, leading us away from the characteristics of a concrete personality towards a generalized and synthetic image.
Автопортрет
- 1933-1934
- Canvas, oil. 93 х 66
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-568
Командир
- Canvas mounted on cardboard, oil. 25,5 х 18,5
- The State Russian Museum
- Ж-11524
Пионерка с горном
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-384
Портрет Н. Н. Пунина
- 1933
- Canvas, oil. 69 х 57
- The State Russian Museum
- ЖБ-1517
Рабочие завода «Серп и молот» в гостях у танкистов
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-64
Слушают доклад И. В. Сталина
- 1933
- Canvas, oil. 123 x 212
- The State Russian Museum
- ЖБ-962
Члены сельского хозяйства «Кызыл-Алтай» прорабатывают обращение центрального и краевого союза (работников) колхозников-ударников
- Paper, ink, nib.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Гр-1582
Collective Farm Workers Talking
- Panel design for the People’s Commissariat of Agriculture
- 1934
- Canvas, oil. 128 x 176
- The State Russian Museum
- Ж-4436
Working on sketches for paintings for the People’s Commissariat of Agriculture building, Deineka travelled many times to villages and communal farms outside of Moscow, where he gathered material for his images. He chose to use a restrained aesthetic range, springing from the rich tradition of fresco painting that Deineka admired. In this case, the artist captured a brigade of collective farm workers listening, apparently, to their chairman.
Female Construction Worker
- 1934
- Canvas, oil. 96 x 67
- The State Russian Museum
- Ж-8192
In Soviet fine arts and cinematography, in agitprop and mass culture, it was women in particular who bore the image of “new people”. In depicting them, Alexander Samokhvalov unfailingly accentuated their distinction from women of previous eras, whose lives were built around their husbands, the home, and children. These new women were strong, socially active, liberated, and self-reliant, and Samokhvalov does not transform them into exclusively propagandistic symbols. In their images the artist’s personal affection combines fortuitously with ideological policies.
Female Workers on a Sponsored Ship of the Baltic Fleet
- 1934
- Canvas, oil. 201,5 x 300
- The State Russian Museum
- ЖБ-925
This painting was completed a year prior to the First Exhibition of Leningrad Artists, and was possibly painted specifically for it. The exhibition intended to demonstrate the successes of new Soviet art “on the road to mastering Soviet reality” (from the preface to the catalogue for the exhibition, which took place in the Russian Museum, Leningrad). The idea of sponsorship arose in Soviet ideology as one way of bringing “culture to the masses”, cultivating new individuals, and fostering healthy interaction between various societal groups. The romantic mood of this large canvas is reflected in the colour scheme: the shades of the red, blue, white, and ochre tones and that of the slightly agitated sea under the ship resonate with one another joyously, like the smiles on the faces of the people. The theme of the painting, necessitated by the demands of the historical era, is executed with the brush of a good painter, thus becoming a genre painting that reflects not only a real situation, but also the nature of Soviet art in the 1930s.
Joseph Stalin at Sergei Kirov’s Coffin
- 1934
- Canvas, oil. 271 x 208
- The State Russian Museum
- Ж-4490
In 1934 Rutkovsky headed a team of artists engaged in decorating the Beloostrov train station, the opening of which on 4 December was to be attended by Kirov, who followed the artists’ progress with interest, even helping them obtain hard-to-get paints for their work. However, Kirov was murdered in the halls of Smolny on 1 December. Many Soviet artists reacted with sadness to his death. In this hastily created painting Rutkovsky depicted the myth of the Soviet head of state’s leave-taking with the deceased. It’s unlikely that the artist knew of the rumors that soon appeared regarding possible political motives behind Kirov’s murder. He simply expressed a feeling of solemn grief, underscoring the great significance of the event. Pure red in contrast with white and black defines the somber resonance of this painting built on a strict rhythm of horizontals and verticals. The canvas is both a document of its age and a typical Socialist Realist work in which myth is transformed into reality through artistic mastery.
Portrait of a Girl with a Book
- 1934
- Canvas, oil. 80 х 90
- The State Russian Museum
- ЖБ-1815
The painting depicts Serafima Ivanovna Lycheva (1906–1992), the artist’s energetic, purposeful, and strong-willed future wife. In late 1934 Alexander Deineka went off on a long trip abroad, visiting America, Paris, and Rome. Besides studies and sketches, he also sent long and detailed letters home to Serafima, sharing his impressions and thoughts. Deineka painted a portrait of Serafima on his return to Moscow, when “the end of his bachelor life was already in sight.”
Portrait of the Blacksmith S. Petran
- 1934. Study. From the Baltic Factory series
- 1934–1935
- Canvas, oil. 98 x 69
- The State Russian Museum
- ЖБ-1464
Every Soviet painter was expected to paint a major picture extolling the successful building of Communism in Russia in the early 1930s. In 1934, the Leningrad City Council commissioned Israel Lizak to paint a large work on an industrial theme for the First Exhibition of Leningrad Artists. Working at the Baltic and Red Vyborzhets Factories, the artist painted the interiors of the shopfloor and portraits of shock workers — steel founders and blacksmiths. Although the picture was never painted, the many studies for it, including the portrait of the blacksmith Petran, can be regarded as finished works in their own right.
Portrait of the Steel Founder Andrei Krylov
- From the Baltic Factory series. 1934–1935
- 1934
- Canvas, oil. 98 х 69,5
- The State Russian Museum
- ЖБ-1463
As in similar studies, the typical and the individual interact in the portrait of Andrei Krylov, steel founder and shock worker of the Baltic Factory, forming an aggregate of such psychological attributes as purposefulness, discipline, and seriousness.
Red Fleet Sailors
- 1934
- Canvas, pasted on cardboard, oil. 39 х 35
- The State Russian Museum
- Ж-11502
Boris Yermolaev painted an entire portrait gallery of sailors and Red Navy commanders in the first half of the 1930s. Entranced by the sea ever since he was a child, the artist combined his studies in studios of art with work as a sailor in the Commercial Port. An outstanding draughtsman, Yermolaev followed the traditions of naïve art in the 1930s, deliberately subordinating his artistic talent to this task. He worked in his studio after sketches from life, painstakingly depicting his characters whilst virtually depriving them of material reality. The condensed atmosphere of his painterly world is similar to the prose of Andrei Platonov.
Каманин Н. П., герой Советского Союза
- 1934
- Paper, lithography.
- The State Russian Museum
- С.Гр.-920
Колхозный базар
- 1934
- Canvas, oil. 150 × 250
- Донецкий республиканский художественный музей
- Ж-227
Метростроевка, несущая арматуру
- 1934
- Paper, watercolours. 45,3 x 28,1
- The State Russian Museum
- РС-1602
Первые строители
- Paper, ink.
- Магнитогорская картинная галерея
- Г-270
Портрет О. Ю. Шмидта
- 1934
- Paper, .
- The State Russian Museum
- С.Гр.-4283
Портрет жены
- 1934
- Canvas, oil. 99,5 х 74,5
- The State Russian Museum
- Ж-9389
Портрет комсомолки Майи
- Canvas, oil.
- Луганский художественный музей
Портрет художницы Н. А. Лекаренко
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-2740
Стакан молока
- 1934
- Paper, watercolours. 45,2 x 28,2
- The State Russian Museum
- РС-1605
У бетоньерки
- 1934
- Paper, watercolours. 45,3 x 28,2
- The State Russian Museum
- РС-1603
У крана
- 1934
- Paper, watercolours. 45,1 x 28,2
- The State Russian Museum
- РС-1604
У лебедки
- 1934
- Paper, watercolours. 45,2 x 28,1
- The State Russian Museum
- РС-1601
Ударница на сенограбилке
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2156
Чернильница с крышкой «Физкультурницы»
- 1933-1934
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-141/а,б
All-Russian Festival of Labour on 1 May 1920
- 1935
- Canvas, oil. 150,5 х 252
- The State Russian Museum
- ЖБ-1829
Pyotr Buchkin depicts one of the first national Communist subbotniks in Leningrad. This picture was possibly painted for the First Exhibition of Leningrad Artists (1935), where the themes of labour and shock workers were virtually de rigeur. These working Saturdays, necessary during the civil war and accompanying economic crisis, later became a widespread movement. This one was dedicated to planting the first trees on Victims of the Revolution Square, as the Field of Mars was then known. But in this event the artist was attracted by the theme of modernity, shared holidays, and public festivities. The painting was created based on sketches and drawings from the actual event.
At the Stadium
- 1934–1935
- Canvas, oil. 121 х 140,5
- The State Russian Museum
- ЖБ-1723
Sport was one of the most popular themes in Soviet art in the mid-1920s and 1930s. Called upon to form the ideal of the new man, artists discerned its prototype in athletes — handsome young men and women perfecting their bodies and hardening the spirit. Sportsmen became the main characters of the works of Alexander Samokhvalov, who dreamt of uniting them in a grandiose monumental composition. Perhaps that is why so many of his paintings of this period are like details of a large, multi-figure fresco. The artist himself described sport as an “existential joy” helping people overcome difficulties “in the struggle for the creation of a new life” and furthering their “love for humankind”. “I loved sport as the culture of healthy, vivacious and joyful people… I was attracted to the healthy creative spirit in healthy bodies,” he wrote.
Komsomol Members at the Joseph Stalin Plant
- 1935
- Canvas, oil. 203 x 144
- The State Russian Museum
- ЖБ-995
The industrial process can be depicted as the confrontation of technology and humanity, unveiling the cruelty of the mechanised world, its unnaturalness, and sometimes its monstrousness. But it also can be shown as an organic interconnectedness between humanity and a “second reality”. The flexible indissolubility of industry and man, in control of the most complicated machinery, is reflected in Chugunov’s monumental canvas Komsomol Members at the Joseph Stalin Plant, exhibited at the First Exhibition of Leningrad Artists (1935, Leningrad).
Osoaviakhim Stratosphere Balloon
- 1935
- Canvas, oil. 238 x 156
- The State Russian Museum
- ЖБ-1887
The Osoaviakhim-1 stratosphere balloon was launched on January 30, 1934. The balloon reached a height of 22 km, beating a world record. But in a few hours the flight ended in terrible tragedy. The cables attaching the basket broke, causing it to fall from a height of 2 km. All three crew members were killed. Flying to such a high altitude was foolhardy, as it significantly exceeded the device’s technical capabilities. The launch took place on the opening day of the 17th Congress of the All-Union Communist Party (Bolsheviks). The deputies at the congress were read a radio telegram from the crew sending greetings to the party and a report on the height reached. The tragic ending was only announced the following day. The stratonauts were declared heroes. Their ashes were interred in the Kremlin wall, with the heads of the party and the state taking part in the interment ceremony. After an investigation of the reason for the catastrophe, many experts who had taken part in the preparations for the expedition were shot. Osoaviakhim, or the Society for Assistance to Defence and Aeronautic-Chemical Construction, was a mass social volunteer organisation of Soviet Union citizens that existed from 1927 to 1948. All across the country, the organisation oversaw the founding of clubs and training facilities to prepare the population to defend the USSR. By 1928 the society already had 2 million members. Special pins, stamps, and posters were made to publicise Osoaviakim’s activities.
Spring
- Canvas, oil. 185 х 156,5
- The State Russian Museum
- ЖБ-1272
Kuzma Petrov-Vodkin was a remarkable painter and an innovator in painting. He took an interest in Early Renaissance and Russian icon painting, the result of which is considered to be the development of the “spherical perspective” (the artist himself avoided using the term “spherical perspective” and changed it for “live visibility”). In his autobiographical novels “Khlynovsk” and “Euclid’s Space” (late 1920s – early 1930s) he talks about the forming of the “spherical perspective” and gives its philosophic understanding. It is based on children’s impressions and personal experiences: “... here on a hill while I was falling down on the earth a completely new impression of the landscape flashed though my eyes ... I saw the Earth like a Planet ... a whole new feeling of a sphere embraced me on that hill.( Kuzma Petrov-Vodkin. “Khlynovsk”. “Euclid’s Space”. “Samarkandia”. Leningrad, 1982).
The principle of the spherical perspective is vividly represented in the composition of the painting “Spring”. Here the artist gives a compelling impression that the Earth is a Planet. In his mind, our perception of the space is invariably connected with the fact of our being on a spherical planet and it should be shown in a work of art. The abrupt twist of fore and backgrounds gives the “effect of presence” of a viewer inside, in the midst of the scene depicted. Arranging the composition with inclined axes causes the feeling of the rotation of the Earth – the artist is suggesting that all these elements represent the experience of being on the planet.
Вузовка
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-2542
Девушки-ковровщицы
- 1935
- Canvas, oil. 60 х 50
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-522
К. Э. Циолковский
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-450
Ковровщицы
- 1935
- Canvas, oil. 60,5 х 51
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-512
На страже
- 1930-1940
- Canvas, oil. 70,1 х 47
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Пионервожатая
- Canvas, oil. 89 х 71
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Пионерка
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-127
Портрет Вари Шитаковой
- 1935
- Canvas, oil. 90 х 70
- The State Russian Museum
- ЖБ-1884
Портрет Е. П. Самохваловой
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1489 АОМИИ
Портрет С. И. Л. в соломенной шляпе
- 1935
- Canvas, oil. 82 х 60,5
- The State Russian Museum
- ЖБ-1813
Портрет летчика (Молоков)
- Paper, .
- The State Russian Museum
- С.Гр.-132
Принятие декрета о создании Рабоче-крестьянской Красной Армии
- 1935
- Canvas, oil. 256,5 х 390
- The State Russian Museum
- Жб-1987
С. М. Киров с детьми
- 1930s
- Paper, , .
- The State Russian Museum
- С.Гр.-8941
Сбор хлопка
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-386
Советская физкультура
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-683
Portrait of Joseph Stalin
- 1936
- Canvas, oil. 99 х 67
- The State Russian Museum
- Ж-9590
Вручение акта на вечное пользование землей
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2213
Группа «Колхозный молодняк»
- 1936
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-61
Портрет стахановки Гладковой с дочерью
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2195
Премирование
- Oil, canvas.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-440
Премирование ударниц-текстильщиц фабрики «Красная роза»
- Cardboard, oil.
- Тверская областная картинная галерея
- Ж-2693
Собрание колхозников в Аносе Чемальского аймака
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-201
Старатели пишут письмо творцу Конституции И. В. Сталину
- Canvas, plywood, oil.
- Смоленский государственный музей-заповедник
Юная натуралистка
- 1935-1937
- Canvas, oil.
- The State Russian Museum
- ЖБ-1755
Collective Farm Holiday
- 1937
- Canvas, oil. 188 x 307
- The State Russian Museum
- Ж-5699
Arkady Plastov’s Collective Farm Holiday depicts the harvest celebrations at a Soviet collective farm. The festivities are not among those introduced by the Communist authorities; this is one of the traditional Russian folk holidays marking the most important events in the annual cycle of life. The villagers have brought in the harvest; now it is time to reap the fruits of their labours. Nature has been kind and lavishly rewarded their efforts. The banner crowned by the portrait of Joseph Stalin claims that «life has become better, life has become fun.» This is a token of the Soviet period and Communist propaganda, transferring the traditional folk festival beyond the bounds of a concrete village into a national celebration.
Arkady Plastov painted this picture after making a series of studies of fellow villagers. He was born and spent most of his life in the village of Prislonikha near the town of Ulyanovsk. The artist devoted his entire oeuvre to the rural theme. The heroes of his paintings are real people of the 1930s, recorded for posterity in the master’s poetic and sincere images. The idealised image of abundance and festivities was an official requirement of Soviet art in the 1930s. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 350.
Female Metro Builder with a Drill
- 1937
- Canvas, oil. 205 х 130
- The State Russian Museum
- Ж-7565
Endowed with a sharp feeling of modernity, Alexander Samokhvalov aspired to be in the epicenter of life, discerning the romantic pathos of creation in the leading events of the day and age. Construction of an underground railway in the mid-1930s was an exciting new topic, discussed at length across the country and even lauded in popular songs. Samokhvalov long dreamt of depicting the female construction workers in a monumental mural. In 1937, he painted an oil painting on the basis of an earlier watercolour.
The large generalised planes and laconic tones help the artist to achieve a monumental plastic image. This fresco-like portrait exudes strength, clarity, beauty, mental and physical health, inspiration and aspiration. Alexander Deineka characterised the heroine of Underground Worker with a Drill as «like a goddess, yet nevertheless our own Russian gal.» Samokhvalov was clearly orientated on classical art. The worker’s athletic figure, posture, crossed legs and the drapery liken her to a Greek or Roman goddess. Working on his «underground workers» and focussing on frescoes, Samokhvalov passed through a period of interest in Michelangelo, whom he regarded as a «truly great revolutionary artist, whose works realized the ideal of democracy — the harmony of the power of the spirit and the power of the body.» The «new man» in the image of Soviet womanhood was a popular theme in the art of the 1930s. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 350.
Meeting of a Factory Party Committee
- 1937
- Canvas, oil. 240 x 350
- The State Russian Museum
- ЖБ-967
Depicted is the moment when a factory partkom (party committee) considers the acceptance of a new member into the party. This was a responsible step for the young applicants, who were questioned by their elder comrades to ascertain their conformity with the party’s ideological and ethical norms. Awarded an honorary prize at the Industry of Socialism exhibition in 1937, the painting became an important milestone in Lukomsky’s oeuvre. The work revealed the artist’s talent as a portraitist. All the meeting’s participants are expressive types, each with their own character, mood and life story. Lukomsky continued employing this principle in his later paintings, most of which are group portraits of representative character types united by a generic or historical subject.
Prospectors Writing a Letter to the Creator of the Great Constitution
- 1937
- Canvas, oil. 249 х 500
- The State Russian Museum
- Ж-5848
The painting was created for the Industry of Socialism exhibition, the main event in the USSR’s artistic life in 1939. Back in 1935 the party had set the goal of reflecting industrial achievements in fine artworks, stipulating that their main subjects should be “not machines but people educated by the party of Lenin and Stalin to master technology and place machines at the service of socialism”. A “thematic exhibition plan” was published, i. e. strict instructions for artists regarding desired subjects and their permissible interpretation. Among them were five themes connected with Lenin, ten with Stalin and two with Ordzhonikidze. In addition, artists were given specifically formulated tasks to depict the country’s newly-transformed cities and regions, the might of the Red Army’s heavy armaments, the power of Soviet metallurgy and so forth. Vasily Yakovlev was requested to take up the gold prospecting theme and go the Urals to study it. In the Valeryanovsky gold fields in Sverdlovsk Region the artist found the prototype for his composition, which shows a picturesque group of prospectors under the rays of the blinding sun engaged in an animated debate over a letter to Joseph Stalin they’re writing in response to the leader’s appeal to fulfill a gold production plan. The composition is marked by the distinct documentary verisimilitude that typifies Socialist Realist art as a whole. At the same time, the event’s romantic and high-spirited atmosphere fulfils a propagandistic role. Yet hidden behind the mythologized sense of workers’ enthusiasm masterfully created by this major artist lies the back-breaking reality of the gold miners’ labour.
Sergo Ordzhonikidze
- Cast in 1941
- 1937
- Bronze. 250 х 145 х 97
- The State Russian Museum
- СО-94
Grigory Konstantinovich Ordzhonikidze (1886–1937) was a Soviet government and party figure. He was the Chairman of the Supreme Council of the National Economy (from 1930), People’s Commissar for Heavy Industry (from 1932), member of the Central Committee Politburo, and member of the All-Russian Central Executive Committee and the USSR Central Executive Committee.
Ordzhonikidze was one of the so-called “Old Bolsheviks” — partisan activists that were present at the beginning of the Russian Revolution of 1917 and subsequently held leading positions in the new governmental hierarchy. This portrait is a typical depiction of a “leader” in the traditions of Socialist Realism. This is already evident in the title of the work: Sergo was Ordzhonikidze’s party alias, under which Ordzhonokidze was mythologized in Soviet “iconography” as a close comrade-in-arms of Lenin and Stalin. The scale of the sculpture and the figure’s energetic, forceful gestures, as if he were giving a speech to a crowd, create the image of a leader endowed with extraordinary human qualities and phenomenal moral strength.
University Student
- 1936–1937
- Canvas, oil. 97 x 66
- The State Russian Museum
- Ж-10395
The painting depicts a female student in the process of obtaining a higher education. M. Fomicheva, a classmate of the artist’s daughter Maria, was the model.
Worker and Collective Farm Woman
- Model for the sculptural group in the Soviet Pavilion at the World Exhibition in Paris. Cast in 1965
- 1937
- Bronze. 84,5 x 43 x 57
- The State Russian Museum
- СО-797
Авиамоделисты
- Canvas, oil.
- Ярославский художественный музей
- Ж-519
Водная станция
- Canvas, oil.
- Ярославский художественный музей
- Ж-2062
Группа «Папанинцы»
- 1937
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-124
Колхозный той
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-385
Косогорский металлургический завод. Перед сменой
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-625
Лоток письменного прибора «Обсуждение Сталинской конституции в колхозе Узбекистана»
- 1937
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-130
Мама прилетела
- 1937
- Canvas, oil. 130 × 120
- Донецкий республиканский художественный музей
- Ж-231
Метростроевка у бетоньерки
- Canvas, oil, tempera.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-261
Портрет В. М. Абалакова
- 1937
- plywood, canvas, oil. 55 х 45
- The State Russian Museum
- ЖС-789
Портрет доярки (Бригадир совхоза Торосово Лилля Тамман)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2155
Портрет летчика М. М. Громова
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1255
Премия (Донбасс)
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-589
Прибор для карандашей и перьев от письменного прибора: «Обсуждение Сталинской конституции в колхозе Узбекистана»
- 1937
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-129
Рабфаковка с портфелем
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-613
Рыбацкий колхоз на реке Шексне
- Canvas, oil.
- Ярославский художественный музей
- Ж-251
Стахановцы
- Canvas, gouache.
- Тверская областная картинная галерея
- Ж-63
Чернильница от письменного прибора: "Обсуждение Сталинской конституции в колхозе Узбекистана"
- 1937
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- СФ-127/а,б,в,г,д
Ысыах
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1107
Электросварщицы Сормова
- Canvas, oil.
- Ярославский художественный музей
- Ж-237
Artists of the Konstantin Stanislavsky Theatre Meeting Students of the Nikolai Zhukovsky Air Force Academy
- 1938
- Canvas, oil. 297,5 x 375,5
- The State Russian Museum
- Ж-5602
The canvas was painted by Efanov for the exhibition 20 Years of the Workers’ and Peasants’ Red Army and Navy and then displayed at the New York World Exhibition in 1939. Among the depicted guests are many well-known performing artists of the day in addition to aviators and Konstantin Stanislavsky himself. The appearance in Efanov’s oeuvre of a group portrait of stage performers is no accident: the artist was an actor and lifelong theatregoer himself, and his wife was an actress at the Stanislavsky Theatre. And though Efanov abandoned the stage in the mid-1930s, the theatre remained dear to him. The event portrayed in the painting took place on 22 December 1935 in Stanislavsky’s apartment studio. The artist began work on the canvas in 1937, finishing it a year later, after the great di rector’s death. Depicted in the composition are thirty-eight people, all painted by the artist from life. In his autobiography Efanov recalls: “I painted the performers and aviators directly from life. They posed for long stretches at a time, sometimes at night. All the painting’s details — the still life on the table, the chairs and the enormous carpet — were also painted from life.” Efanov also met with Stanislavsky numerous times, studying his character, bearing and gestures and making many sketches and studies. The multi-figure composition is masterfully arranged and the interior and festive still life on the table painted freely and broadly, without distracting attention from the scene’s main action. The composition’s semantic focus is the director’s standing figure, towards which all present are turned. The theatre headed by Stanislavsky and bearing his name enjoyed sponsorship over the Nikolai Zhukovsky Air Force Academy, whose members are also present in the scene, demonstrating the mutual relations between different social strata. In full accord with the ideological demands of its time, the painting was intended to illustrate the idea of the beauty and dignity of the era’s new people and underscore the notion that true social unity was possible only within a socialist society.
Evdokia Fedotova, Chairwoman of the Second Congress of Collective Farm Shock Workers
- 1935–1938
- Canvas, oil. 121 х 79
- The State Russian Museum
- Ж-7497
After a short period of bold experimentation during the late 1910s and early 1920s, Sofya Dymshits-Tolstaya’s creative work entered a period of working with realist painting. From 1925 to 1935, Dymshits-Tolstaya managed the art section for the magazines Woman Worker and Peasant Woman, and as a result found herself at one of the epicentres of formation of the concept of the new Soviet woman. She made a whole series of portraits of “new women”: agitators, shock workers, and social activists on collective farms. In her memoirs, the artist wrote: “Evdokia Sergeyevna Fedotova had a severe face, with a touch of iconlike rapture in it, and she was intelligent and strong-willed. [...] When I began working I asked her what she would like to have in the painting. She replied that she should definitely be pictured with the minutes of the kolkhoz shock workers’ congress [...]”.
Portrait of Isaac Brodsky
- 1938
- Canvas, oil.
- The State Russian Museum
- Ж-5685
Portrait of Sergei Kirov
- 1937–1938
- Canvas, oil. 118 х 98
- The State Russian Museum
- Ж-4451
Sergei Mironovich Kirov (Kostrikov) (1886–1934): Communist Party functionary. Member of the Tomsk Committee of the Russian Social Democratic Workers Party (1905–1907). Fought in Astrakhan during the Civil War (1919). First secretary of the Leningrad branch of the Communist Party (1926–1934). After Kirov’s death many Soviet artists turned to subjects connected with him. This political figure had enjoyed great authority in Leningrad during his lifetime, and after his mysterious death he acquired the traits of a mythological hero. Zverev painted state-commissioned portraits of Kirov numerous times. In this one the artist shows the wellknown statesman and Leningrad party leader as a charismatic yet down-to-earth human being, which contradicted the requirements of Socialist Realism.
Бойцы за учебой
- Paper, lithography.
- The State Russian Museum
- С.Гр.-4944
В магазине
- Canvas, oil.
- Луганский художественный музей
В. И. Ленин и И. В. Сталин в Горках в 1923 году
- 1938
- Canvas, oil. 101 x 75,5
- The State Russian Museum
- Ж-6144
Выборы в Верховный Совет
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 304
Лыжники
- Paper, etching.
- Нижнетагильский музей изобразительных искусств
- Г-101
Маёвка на Волге
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-3363
Освобождение политзаключенных из Омской тюрьмы 19 ноября 1919 г.
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-779
Счастливое материнство
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 147-146ж
Collective Farmers at Ivan Michurin’s (Horticulturists Visiting Ivan Michurin)
- 1939
- Canvas, oil. 236 x 300
- The State Russian Museum
- Ж-6766
Female Delegates
- 1939
- Canvas, oil. 139 х 98
- The State Russian Museum
- Ж-4420
Alexander Samokhvalov’s picture-portrait is closely in line with the much-trumpeted theme of “friendship of the peoples” popular in film and song. Depicted in close-up, against a background of the other female delegates, a blonde Russian girl and a dark Muslim beauty are symbols of this friendship. The festive atmosphere is underscored by the smiling faces and the ringing colour combinations, dominated by tones of red.
Portrait of Alla Tarasova
- 1939
- Canvas, oil.
- The State Russian Museum
- Ж-5939
Portrait of Vladimir Lenin
- 1939
- Lithography. 44 х 29
- The State Russian Museum
- С.Гр.-1015
Знатные люди Страны Советов
- 1939
- Canvas, oil. 900 х 1620
- The State Russian Museum
- Ж-6803
Красное Сормово
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-134
Мамлакат Нахангова – юная стахановка хлопковых полей
- 1937-1940
- . 44 х 26 х 23
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- С-50
Письмо
- 1939
- Canvas, oil. 100 x 79
- The State Russian Museum
- Ж-5676
Фигура «За чтением». Портрет художницы Елены Яковлевны Данько
- 1939
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- СФ-950
Физкультурный парад
- 1939
- Canvas, oil.
- The State Russian Museum
- Ж-6804
Joseph Stalin and Kliment Voroshilov in the Kremlin
- 1940
- Canvas, oil. 147 x 190
- The State Russian Museum
- ЖБ-2072
This work is a vivid example of the personality cult in Soviet art. The depiction of Stalin and People’s Commissar of Defence Voroshilov strolling near the Kremlin walls symbolized the preparedness of army and government to defend the country. The leaders rise above a spacious panorama of Moscow in a manner likening them to the bogatyrs of Russian fairy tales and legends. Originally entitled Guardians of Peace, the painting became widely known and was copied and reproduced many times. This copy created by Yury Vasilyev from Alexander Gerasimov’s original painting (1938, Tretiakov Gallery) is smaller than the original, but its reverse side bears Gerasimov’s signed certificate and approval.
Sergei Kirov in Astrakhan in 1919
- Caspian expedition
- 1940–1949
- Canvas, oil. 290 x 498
- The State Russian Museum
- Ж-2411
А. Н. Толстой в гостях у художника
- 1940–1941
- Canvas, oil. 142 х 168
- The State Russian Museum
- Ж-8647
М. И. Калинин на вагонном заводе
- plywood, pavoloka, gesso, tempera.
- Тверская областная картинная галерея
- Ж-2610/1
Мастера урожаев
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-67
Портрет А. Н. Толстого
- 1940
- Canvas, oil. 105 x 98
- The State Russian Museum
- Ж-5605
Портрет Героя Советского Союза А. С. Осипенко
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-184
Почта пришла
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1146
Появление В. И. Ленина на II Всероссийском съезде Советов
- 1940
- Canvas, oil. 385 х 355
- The State Russian Museum
- Жб-1947
Юные судостроители (Флотилия)
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-1260
Portrait of Andrei Yumashev
- 1941
- Canvas, oil. 140 х 111
- The State Russian Museum
- Ж-5601
Andrei Yumashev (1902–1988) was a legendary fighter pilot who flew across the North Pole from Moscow to the United States, setting a world record for a non-stop direct flight with flight commander Mikhail Gromov and Sergei Danilin. He was awarded the title of Hero of the Soviet Union in 1937. As a boy, Andrei Yumashev had been interested in art. He attended the courses of the Society for the Encouragement of Artists and was later a friend of Ilya Mashkov, Robert Falk and Pyotr Konchalovsky. The pilot made sketches and painted portraits in the 1920s. Yumashev’s military career began at the age of sixteen, when he volunteered for the Red Army. He then became an air cadet and flew in the Winter War against Finland. The commander of a squadron of fighters during the Second World War, Yumashev paid occasional visits to Pyotr Konchalovsky in Moscow, where the artist painted his portrait. What’s more, Konchalovsky gave the aviator a canvas, brush and paints and he in turn painted a portrait of the artist. Later vice-commander of the First and Third Air Force on the Western Front, Yumashev fought at the Battle of Kursk in 1943. Major general of the Soviet Air Force (1943). After the war, he was transferred to the reserve and joined the Union of Artists in 1946. Andrei Yumashev was not only a professional pilot, but also a highly cultured individual. The portrait depicts his energy, strength, dignity and confidence. The style of painting and the very texture is energetic.
В помощь фронту
- Metal.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- Инв. № 6213-218-с
Портрет писателя К. А. Тренева
- Canvas, oil.
- Луганский художественный музей
Portrait of Maria Petrova
- 1942
- Canvas, oil.
- The State Russian Museum
- Ж-10941
Maria Grigorievna Petrova (1906–1992): Leningrad radio artist. People’s Artist of the RSFSR (1978). Wife of the artist.
Maria Petrova worked as a political instructor at the House of Radio in Leningrad during the war. A member of the civil defence team of the Leningrad Radio Committee, she helped to save people from under the rubble of destroyed houses. From 1942 onwards, she performed at the Maxim Gorky Theatre of Drama, recreated during the war and known as the legendary Blockade Theatre. Petrova’s voice inspired the citizens of Leningrad both during the siege and after the war. She worked on the radio for a total of fifty-six years.
Once, during the Siege of Leningrad, Maria Petrova exchanged her bread ration for a collection of poems by Alexander Pushkin. Thirty years later, she presented the book to the poet Sergei Davydov, who dedicated the poem A Gift to her:
Slim volume of poetry, so few like you:
Exchanging her last dry slices of bread
For a collection of Pushkin’s verses
In the hungry winter of ’41...
Maria Petrova was a regular wartime visitor to the Union of Artists, where she read out the stories of Vladimir Korolenko. Her future husband, Yaroslav Nikolaev, made sketches of her while she was reading. The image in the portrait is both touching and inspired. The harmony of the light-pink and white tones of the clothes and the softly painted background is natural and beautiful. The notes of lyricism in the sitter’s outer appearance and the painterly resolution are particularly distinctive in comparison with such other works by the artist as Self-Portrait and Portrait of Vasily Vikulov.
Portrait of Partisan V
- 1942
- Canvas, oil. 101 х 83
- The State Russian Museum
- Ж-5588
The painting depicts Dmitry Ivanovich Vlasov, an engineer at the Dubrovka Wood Processing Factory who commanded the 164th Vsevolozhsk Partisan Detachment from 1941 onwards.
Автопортрет
- 1942
- Canvas, oil. 62 х 48
- The State Russian Museum
- Ж-7940
Бой под слободой Стрелецкой
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-288
В. И. Ленин и М. А. Горький в Горках
- Canvas, oil.
- Самарский областной художественный музей
- Ж-470
На Сталинградский фронт
- Canvas, oil.
- Самарский областной художественный музей
- Ж-745
На эскалаторе. Московское метро
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-1409
Партизанский отряд (Лесгафтовцы)
- Canvas, oil.
- The State Russian Museum
- Ж-5573
Портрет И. А. Орбели в кабинете в Эрмитаже
- Lithography.
- The State Russian Museum
- С.Гр.-9749
Портрет полярного летчика М.В. Водопьянова
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Инв. Ж-2883 АОМИИ
Портрет скульптора В.П. Акимова
- Canvas, oil.
- Самарский областной художественный музей
- Ж-472
Портрет художника А. А. Блинкова
- Canvas, oil.
- The State Russian Museum
- Ж-4426
A Partisan’s Mother
- Study for the painting of the same name (1943, Tretyakov Gallery)
- 1943
- Canvas, oil. 113 х 84,5
- The State Russian Museum
- Ж-4414
When creating this painting, the artist didn’t have any particular woman in mind but rather all Russian women who’d replaced their husbands and sons in the fields after the latter had gone off to war. These women endured and survived under wartime conditions thanks to their great spiritual strength, will and courage.
Писатель А. Т. Твардовский
- 1943
- Gypsum. 50 x 42 x 30
- The State Russian Museum
- СО-46
Портрет Вали Соколовой
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-194
Портрет писателя Сергея Владимировича Михалкова с сыном
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-490
Портрет товарища Литаврина / Портрет Героя Советского Союза, летчика-истребителя капитана С.Г. Литаврина
- Canvas, oil.
- The State Russian Museum
- Ж-5593
Портрет товарища Шишканя / Портрет Героя Советского Союза, летчика-истребителя старшего лейтенанта И.М.Шишканя
- Canvas, oil.
- The State Russian Museum
- Ж-4434
Сталин у постели больного М. Горького
- 1943
- Canvas, oil. 71,5 х 90
- The State Russian Museum
- Ж-5607
Expanse
- 1944
- Canvas, oil. 204 x 300
- The State Russian Museum
- Ж-4500
In the last year of the war, happy colours appeared in Deineka’s austere palette. In the summer of 1944, he finished the large painting Expanse, which he began before the war. The resulting painting is perceived as a joyful hymn to peaceful life against a backdrop of the vast expanses of his native land.
Наступление начинается здесь
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-140
Портрет Заслуженной учительницы Е.С. Монастыревой
- Cardboard, oil.
- Череповецкое музейное объединение
- ЧерМО-2452/11
Портрет И. В. Сталина
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-144
Портрет Коротковой Л.Н., свинарки колхоза "Будёновец"
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-569
At the Crimea Conference
- 1945
- Canvas, oil. 74,5 x 120
- The State Russian Museum
- Ж-5962
The meeting between the leaders of the three great powers — Britain, the USSR and the USA — that took place on 4–11 February 1945 at the Livadia Palace in Yalta, otherwise known as the Crimean Conference. When it was held, fighting was already underway within Germany, and the matter of postwar restructuring was one of the items on the agenda. The three countries were represented by Chairman of the Council of People’s Commissars of the USSR Joseph Stalin, British Prime Minister Winston Churchill, and US President Franklin D. Roosevelt.
Portrait of Georgy Zhukov
- 1945
- Canvas, oil. 109 х 90
- The State Russian Museum
- Ж-6446
Georgy Konstantinovich Zhukov (1896–1974): Soviet military commander, Marshal of the Soviet Union (1943), four-times Hero of the Soviet Union (1939, 1944, 1945, 1956), deputy USSR People’s Commissar for defence and deputy Commander-in-Chief (from 1942). Commanderin-Chief of the group of Soviet Forces in Germany and high commander of the Soviet Administration (1945–1946). He was also a Hero of the Mongol People’s Republic. Pyotr Kotov’s work is an artistic document depicting a concrete person. The literature is silent about the circumstances surrounding the painting of the portrait, possibly linked to the fact that the popular commander fell into official disfavour in March 1946 and was removed by Stalin from the post of Deputy Minister of Armed Forces and Commander of Land Forces of the Odessa Military District and, two years later, the Urals Military District.
«Горный Орел» (Портрет председателя колхоза-миллионера «Мухор-Тархата» Н. Майманакова)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-1103
Допрос коммунистов
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-275
Маршал Советского союза Л.А.Говоров
- Gypsum.
- The State Russian Museum
- СО-91
На Большую землю
- 1945
- Canvas, oil. 226 х 300
- The State Russian Museum
- Ж-5625
Портрет Н. С. Ханаева
- 1945
- Canvas, oil. 155 х 114
- The State Russian Museum
- Ж-5578
Портрет героя Советского Союза т. М. П. Чечневой
- Canvas, oil.
- Самарский областной художественный музей
- Ж-845
Стадо тагилок
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-427
Строители освобожденного Донбасса
- Canvas, oil.
- Луганский художественный музей
Клятва балтийцев
- Canvas, oil.
- The State Russian Museum
- ЖС-1174
Портрет Народного артиста СССР С. Я. Лемешева
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-293
"Молодежь - наше будущее, наша надежда"
- 1947
- . 71 x 50 x 40
- The State Russian Museum
- СО-2136
Russian Soldier
- 1947
- Canvas, oil. 205 х 165,5
- The State Russian Museum
- Ж-5570
The image of a Russian soldier rescuing a German girl during street battles in Berlin became an element of propaganda symbolizing the humanity of the Red Army. Its most celebrated embodiment is the Soviet War Memorial in Berlin’s Treptower Park, created by sculptor Evgeny Vuchetich in the same years in which Fyodor Nevezhin painted this work.
В мастерской скульптора
- 1947
- Canvas, oil. 74,5 х 60
- The State Russian Museum
- Ж-4422
Вернулся
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-849
Вузовцы
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-814
Колхозный быт
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-214
Ленин на Ямале
- Canvas, oil.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ЖВ-95
Непокорённые
- Canvas, oil.
- Луганский художественный музей
Он защищал Родину (Подвиг Юрия Смирнова)
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-516
Портрет А. А. Жданова
- 1947
- Canvas, oil. 102 х 81
- The State Russian Museum
- Ж-5586
Портрет Вани Курочкина, рабочего Ярославского автозавода
- Canvas, oil.
- Ярославский художественный музей
- Ж-455
Сталинградцы (Город не сдается)
- Canvas, oil.
- The State Russian Museum
- Жб-966
У водоема
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1017
Bread
- 1948
- Canvas, oil. 181 x 393
- The State Russian Museum
- Ж-2417
In the late 1940s, Alexander Bubnov addressed the theme of the Soviet countryside and images of collective farm workers. The artist s interest in the painting of the past is reflected in the composition of the picture. The panorama engages in an inner dialogue with the paintings of a whole series of Russian artists, from Alexei Venetsianov to Vladimir Makovsky. Transformed by peasant labour, the earth offers up its rich harvest. Bubnov expresses his delight at the endless fields and the golden ears of corn awaiting harvest.
Portrait of Joseph Stalin
- 1947–1948
- Canvas, oil. 114,5 x 92
- The State Russian Museum
- Ж-5599
In the 1930s the regime officially designated the ideological-creative task of producing images of socialism’s “brilliant creators” Lenin and Stalin and their closest associates. To meet these demands, totalitarian art was transformed into a leading instrument for the creation of the leader cult. The elaborate iconography of Lenin and Stalin images in Soviet art is rivaled only by that of Christ and the highest-ranking saints in Christian art, and it was organized along roughly the same lines, beginning with childhood, going through various embodiments and hypostases and ending with eternal existence in the afterlife. This process of sacralization of power unfolded quietly but quickly, reaching its apogee in 1949, when in honour of Stalin’s 70th birthday a plethora of frankly adulatory works were created and shown at the exhibition Joseph Vissarionovich Stalin in the Fine Arts.
Return (Sunny Morning)
- 1948
- Canvas, oil. 110,5 x 91,5
- The State Russian Museum
- ЖБ-1739
In keeping with the canons of Socialist Realism, the painting is built on the narrative principle, and contemporaries would have read it like an open book. On the floor is a carelessly and hastily opened suitcase, hanging on the chair back an officer’s jacket with combat medals: what we have here is a scene of a victorious hero’s return, his first morning at home. All the hardships of the Siege of Leningrad are now in the past, and the city greets its liberator with a wide, bright panorama of the Neva River through open windows. The artist’s own personal history is woven into this typical subject: she herself lived through the Siege, and her husband was an officer in the Baltic Fleet.
The People in the Second World War
- 1948
- Canvas, oil. 200 х 300
- The State Russian Museum
- Ж-7017
To create a rich image to express what the country had experienced, Deineka used a poster-like compositional treatment with a precisely balanced linear rhythm and a combination of several subjects of differing scales. Taking a scene he’d personally witnessed, the artist recreated it to reflect its importance in historical terms. The female figure in the foreground is allegorically charged: the motherland herself seeing her sons off to the front. The road’s broad diagonal divides the pictorial space into two planes, intensifies the composition’s expressive dynamism and symbolises both progress towards victory and the coming life of peacetime.
Vladimir Lenin
- 1948
- . 109 x 45 x 45
- The State Russian Museum
- СО-263
Sergei Merkurov is known in the history of Soviet sculpture as the unrivaled master of Lenin’s image. He was one of the first monument sculptors to regularly receive state commissions for statues of Lenin and Stalin, many of which have not survived. He was responsible for a huge number of these monuments. Art experts of the time noted with veneration the “Assyro-Babylonian” power of his monuments.
Возвращение героя
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-869
Краснодонцы
- Canvas, oil.
- The State Russian Museum
- Ж-6056
Лыжная прогулка
- 1948
- Canvas, oil. 160 х 200
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
На Академической даче
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2267
От модели и планера к самолету!
- 1948
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-2053
Подвиг пяти черноморцев
- Canvas, oil.
- Симферопольский художественный музей
Портрет Б. А. Лавренева
- 1948
- Canvas, oil. 71 x 58
- The State Russian Museum
- Ж-4425
Портрет К. Е. Ворошилова
- 1948
- Canvas, oil. 153 х 123
- The State Russian Museum
- Ж-6047
Портрет балерины А. Я. Шелест
- 1947‒1949
- Canvas, oil. 145 x 100
- The State Russian Museum
- Ж-5583
Портрет орденоносца, звеньевой колхоза Память Ленина Валентины Григорьевны Кляйкиной
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
Строительство Северо-Печорской железнодорожной магистрали в Заполярье
- Canvas, oil.
- Национальная галерея Республики Коми, Сыктывкар
- Ж288
Elections to the Supreme Soviet of the USSR
- 1949
- .
- The State Russian Museum
- Ж-4405
In 1936, the new Stalinist constitution gave all Soviet citizens the right to vote. The first elections to the Supreme Soviet of the USSR took place on 12 December 1937. The press noted: "The election turned into a national holiday. Practically all residents of the country of voting age participated in the election". Alexander Volkov dramatised one of the fragments of the "national holiday" in a rural area. People, all dressed up, joyfully and excitedly rush to enter the polling station, and solemnly and sedately exit; an accordion player plays on the steps out front; the building is decorated with welcoming wall banners, posters, ribbons, and garlands with fluttering flags. The image grows to the scale of a public celebration in which new and old traditions, naïve enthusiasm and the thirst for a celebration are intertwined.
For the Happiness of the People (Session of the Politburo of the Central Committee of the All-Union Communist Party (Bolsheviks))
- 1949
- Canvas, oil. 280 х 380
- The State Russian Museum
- Ж-4408
Painted in celebration of Stalin’s 70th birthday in 1949, this work was shown at two major exhibitions: the All-Union Exhibition of Art and Joseph Vissarionovich Stalin in the Fine Arts. However, the character of the leader’s portrayal departs fundamentally from that of other formal paintings of the time. The dictator is shown with other members of the Politburo — Vyacheslav Molotov, Nikolai Shvernik, Nikolai Bulganin, Anastas Mikoyan, Nikita Khrushchev, Andrei Andreyev, Alexei Kosygin, Kliment Voroshilov, Georgy Malenkov and Lazar Kaganovich — discussing the planting of future forests “for the happiness of the people”. Although dressed in a marshal’s uniform with the star of a Hero of the Soviet Union, Stalin is intended to look like a simple and accessible man of the people. Stalin’s “simplicity” was also a principal and important element in the formation of his iconography. Although the Communist Party laid down specific guidelines regarding the ideological content of works of art, Soviet painters also learnt to adapt themselves to political changes. After the rejection of Stalin’s cult of personality and the death of Lavrenty Beria, Dmitry Nalbandyan painted over the latter’s figure, forming a logical compositional break between Andreyev and Kosygin.
M. G. Gusarov, Distinguished Steel Founder of the Hammer and Sickle Factory, with His Brigade
- From a series of portraits painted at the Hammer and Sickle Factory, for which the author received a Stalin Prize of the 3rd degree in 1949
- 1949
- Canvas, oil. 200 х 200
- The State Russian Museum
- Ж-6068
Maxim Gorky Reading His Tale Death and the Maiden to Joseph Stalin, Vyacheslav Molotov and Kliment Voroshilov
- 1949
- Canvas, oil. 194 x 220
- The State Russian Museum
- Ж-5609
The main idea behind Maxim Gorky’s philosophical tale is that love is stronger than death, yet love and death are inseparable.
The artist made several copies of the painting (Tretyakov Gallery, Kliment Voroshilov Naval Academy, Maxim Gorky Museum of the Russian Academy of Sciences).
Portrait of Joseph Stalin
- 1949
- Canvas, oil. 200,7 х 103,5
- The State Russian Museum
- Ж-5881
Portrait of Steel Founder Fyodor Konovalov
- 1949
- Canvas, oil. 124 х 97,5
- The State Russian Museum
- Ж-2415
Fyodor Ilyich Konovalov (1909–?): Steelmaker at the Kirov Factory in Leningrad, shock worker (Stakhanovite). This portrait is not the only work by Joseph Serebryany devoted to what was to come to be known as the “industrial theme”. Although depicting the commonplace, the artist always succeeds in bringing out the personality of his sitter.
Portrait of Timofei Khryukin
- Cast in 1949
- Bronze. 187 х 150 х 88
- The State Russian Museum
- СО-36
Timofei Timofeyevich Khryukin (1910–1953) was a Soviet military leader, pilot, colonel general in aviation, and twice Hero of the Soviet Union (1939, 1945). He participated in the Spanish Civil War (1936–1939), the Sino-Japanese War (1937–1945), the Soviet-Finnish War (1939– 1940), and the Second World War. For Khryukin’s ceremonial portrait the artist adopts the classical bust form, known in art since the time of Ancient Rome. The military greatcoat thrown over the general’s shoulders is transformed by the sculptor into a sumptuous drape, similar to the ceremonial toga of a Roman military leader. Different versions of the busts, executed in various materials, were installed on Khryukin’s grave at the Novodevichy Cemetery in Moscow and in the city of Yeysk, where Khryukin was born.
Portrait of the Engine Driver Pavel Fyodorov
- 1949
- Canvas, oil. 106 х 92
- The State Russian Museum
- Ж-2416
Pavel Apollonovich Fyodorov was a senior locomotive engineer for October Railways, who during the blockade of Leningrad worked on the “Road of Life”, the sole, narrow path across Lake Ladoga along which travelled vehicles delivering provisions to the city. Fyodorov was the foreman of the first train sent from besieged Leningrad to the “Big Land” after the blockade was broken.
The Great Oath (Joseph Stalin’s Speech at the Second All-Union Congress of Soviets on 26 January 1924)
- 1949
- Canvas, oil. 235 x 175
- The State Russian Museum
- Ж-4407
Reshetnikov’s painting was among those first shown at the exhibition Joseph Vissarionovich Stalin in the Fine Arts. The treatment of this theme — the continuity of Stalin’s ideas with those of Lenin — was very typical for Soviet mythology, in which historical myths often acquired the significance of real events. In this case the depicted event actually took place. The Second USSR Congress of Soviets, known as the one at which the Soviet constitution was ratified, was held in the Bolshoi Theatre from 26 to 31 January 1924. At the congress Stalin delivered a speech devoted to Lenin’s death, known to historians as the “Great Oath”. The establishment of Stalin’s personality cult began with this speech, so it’s not surprising that the event found such a monumental embodiment on canvas in 1949. Proclaiming himself Lenin’s successor despite Lenin’s 1922 testament, which was sacrilege in and of itself, Stalin needed to establish his right to that title at all costs. And just as that right was established in life in the 1920s and 30s, so it was in art in the 1940s. The triumphant colouration, the golden rays of light “raining down from the heavens” and the contrast of the leader’s towering figure with the crowd in the background help convey the idea of the uniqueness and monumental greatness of a man who in reality could boast of neither height, athletic build nor physical beauty.
Агрокружок в колхозе
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 652-ж
Артём в Донбассе
- Canvas, oil.
- Луганский художественный музей
Богатырь леса. Портрет знатного лесоруба А. П. Готчиева
- 1949
- Canvas, oil. 154 х 208,5
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-69
В праздник. (В выходной день)
- 1949
- Canvas, oil. 157 x 248
- The State Russian Museum
- Ж-6069
Водный праздник
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-367
Летом
- 1949
- Canvas, oil.
- The State Russian Museum
- Ж-4406
На приволье (Животноводство в Сибири)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2201
Новый год
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-318
Отдых строительниц
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-577
Первоклассница
- Canvas, oil.
- Самарский областной художественный музей
- Ж-844
Портрет заслуженной артистки РСФСР В. Дуловой
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-651
Портрет сибирской героини К. В. Винокуровой
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2214
Советские моряки! Укрепляйте могущество военно-морских сил Советского государства
- Paper, .
- The State Russian Museum
- Гр.Пл.-831
У портрета вождя
- 1949
- Canvas, oil. 141 х 149
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Glory to the Great Stalin!
- 1950
- Canvas, oil. 351 х 525
- The State Russian Museum
- Ж-5872
The compositional and coloristic structure of the painting created by a team of authors (Yu. P. Kugach, V. K. Nechitailo, V. G. Tsyplakov) to the All-Union Art Exhibition of 1950, completely subordinated to the idea of presenting the leader of the state as the inspirer and organizer of the greatest victories. The grand staircase leading up, the hands of the applauding crowd, the open doors symbolizing a breakthrough into infinity, and the successfully staged lighting convey the jubilant mood of those present in the best possible way. Stalin appears in a shining halo, like a celestial descended to the crowd, close and inaccessible at the same time.
In the immediate environment of the leader are prominent members of the party and government (N. A. Bulganin, A. I. Mikoyan, A. A. Andreev, L. P. Beria, V. M. Molotov, A. N. Kosygin and others), famous military leaders and pilots (K. E. Voroshilov, I. N. Kozhedub, A. I. Pokryshkin), leaders production (A. G. Stakhanov), as well as prominent scientists — President of the USSR Academy of Sciences physicist S. I. Vavilov and Director of the Institute of Genetics of the USSR Academy of Sciences T. D. Lysenko. This "meeting" of academicians Vavilov and Lysenko (pictured on the left, behind the railing of the stairs) is one of the many paradoxes of Stalin's time. It is known that Sergey Vavilov's brother Nikolai, a prominent geneticist, founder and director of the Institute of Genetics, was arrested in 1940 with the help of Trofim Lysenko, who began the fight against classical genetics, and died in prison in 1943. Lysenko, after his arrest, headed the Institute and completed the destruction of genetics. Next on the canvas are representatives of numerous peoples inhabiting the Soviet Union, children and typical representatives of the masses. Thus, the ideologeme "man — crowd — leader" finds its canonical embodiment here. // Alice Lyubimova. Electronic catalog "Heroes and Villains of Russian History". St. Petersburg, 2010. p. 476.
He Writes the Word “Peace”
- From the Struggle for Peace composition
- 1950
- Bronze. 60 x 87 x 48
- The State Russian Museum
- СО/ПФ-126
In the Peaceful Fields
- 1950
- Canvas, oil. 200 x 400
- The State Russian Museum
- Ж-6070
Portrait of the Lieutenant General of Aviation Andrei Tupolev
- 1950
- Canvas, oil. 140 x 90
- The State Russian Museum
- Ж-6026
Andrei Nikolayevich Tupolev (1888–1972), Soviet aeroplane builder, Academician of the USSR Academy of Sciences (1953), three-times Hero of Socialist Labour (1945, 1957, 1972) and General Commanding Engineer (1968). Winner of the Stalin Prize (1943, 1948, 1949, 1952), the Lenin Prize (1957) and the State Prize (1972). Tupolev designed more than 100 types of aircrafts, including the airliners of TU-models that bear his name.
The USSR Is the World’s Bastion of Peace
- Fragment of The Struggle for Peace composition
- 1950
- Bronze. 117 х 116 х 55
- The State Russian Museum
- СО-ПФ-109
In the first postwar years, when Manizer and his team of sculptors created this large, seven-part composition, the theme of the struggle for peace in a world divided into two social systems was especially relevant. Executed in a highly detailed and realistic manner in tune with the spirit of the times, this composition tells of various manifestations of peaceful life and the struggle against war. Each part is furnished with a descriptive title (for example, “American projectiles in the water” or “He writes the word ‘Peace’”) and carries an ideological message, functioning in essence as a sculptural poster on the anti-war theme. The fragment on display is the composition’s central part, where Stalin’s figure surrounded by ordinary folk symbolizes “the world’s bastion of peace”.
The Youth of the World
- From the Struggle for Peace composition
- 1950
- Bronze. 106,7 x 87,5 x 52,5
- The State Russian Museum
- СО/ПФ-131
В новый дом
- Canvas, oil.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-254
Герой СССР П. Вершигора
- Paper, watercolours.
- Музейно-выставочный центр (г. Когалым)
- ОФ-53
И. В. Сталин на крейсере «Молотов»
- Canvas, oil.
- Луганский художественный музей
Лесорубы. Молодежная бригада
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-359
Мастера труда
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-573
Маяковский в 1920 году
- 1950
- Canvas, oil. 214,0 x 114,0
- Мурманский областной художественный музей
- Ж-2690
Москва строится
- Canvas, oil.
- Луганский художественный музей
На катке
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-497
Подписание Декрета об образовании Татарской АССР
- Oil, canvas.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1661
Портрет бригадира колхоза им. Пушкина Гатчинского района Ленинградской области Героя Социалистического труда Дмитриева В. Д.
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-177
Портрет заслуженного врача РСФСР А. Е. Конева
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-0453
Портрет колхозницы колхоза «Социализм»
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-10
Портрет учительницы А. И. Бобровой
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-0377
Слава нашей любимой Родине!
- 1950
- Paper, . 79,9 × 56,8
- Ярославский художественный музей
- Пл-186
Славься, Отечество наше свободное, дружбы народов надежный оплот!
- Paper, .
- Ярославский художественный музей
- Пл-176
Электричество в колхоз
- 1950
- Canvas, oil. 150 × 135,5
- Донецкий республиканский художественный музей
- Ж-403
Session of the Presidium of the Academy of Sciences of the USSR
- 1951
- Canvas, oil. 399 x 585.5
- The State Russian Museum
- Ж-5955
The mural was created by a group of artists led by Vasily Efanov. Efanov enlisted the group, which painted around two hundred studies in all for the canvas. Many of the composition’s individual portrait studies of academicians became significant works in their own right. They were exhibited alongside the larger painting at the All-Union Art Exhibition in Moscow in 1952. The canvas depicts a session of the Presidium of the USSR Academy of Sciences discussing construction plans for the Main Turkmen Canal. The photographic authenticity with which the work documents the event doesn’t detract from its virtues as a formal group portrait painted in the best traditions of the realistic school. The artists’ collective was awarded a 3rd-degree Stalin Prize for the main canvas and individual portraits.
Выступление новатора И. Т. Валигуры на учёном совете
- Canvas, oil.
- Луганский художественный музей
Доярка Нина Болотина
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-278
Портрет Т. Ильясовой
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж-103
После трудового дня
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2114
Утро нефтяников Татарии
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-3515
Агролаборатория колхоза «Красный Октябрь»
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-1158
В новую квартиру
- 1952
- Canvas, oil. 128 × 111
- Донецкий республиканский художественный музей
- Ж-333
И. В. Сталин и Мао Цзэдун
- 1952
- Canvas, oil. 168 х 240
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Отдых колхозной молодежи
- Canvas, oil.
- Тамбовский областной краеведческий музей
- КП №8154
Павлик Морозов
- 1952
- Canvas, oil. 186 х 233
- The State Russian Museum
- Ж-6029
Портрет О. Л. Книппер-Чеховой
- 1952
- Canvas, oil. 90,5 x 72
- The State Russian Museum
- ЖС-1817
Портрет писателя С. Муканова
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-878
Портрет профессора Камая
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1315
Последнее выступление В. И. Ленина на Пленуме Московского совета 20 ноября 1922 год
- До 1953
- Canvas, oil. 160 х 205
- The State Russian Museum
- ЖБ-2012
Свежий номер цеховой газеты
- 1952
- Canvas, oil. 168 x 232
- The State Russian Museum
- Ж-6028
Сталин среди народа в Кремле (Наш мудрый вождь, учитель дорогой)
- 1952
- Canvas, oil. 410 х 530
- The State Russian Museum
- Ж-7469
Хлеба созрели
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-357
Школьники на концерте. Дипломная работа, институт им. И. Е. Репина
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-266
В цеховой библиотеке
- 1953
- Canvas, oil. 121 х 157
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Женщина в русском сарафане (портрет Н.В.Плевицкой)
- Marble.
- The State Russian Museum
- СО-283
На джайлау
- 1953
- Canvas, oil. 104 х 173
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 1237
Портрет кузнеца ТВРЗ Д. Эктова
- Canvas, oil.
- Тамбовский областной краеведческий музей
- КП №8456
Сбор подписей за мир
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1013
«Муса Джалиль. Перед приговором»
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1371
В народном суде
- 1954
- Canvas, oil. 94 х 114
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Весна на целине
- Paper, .
- Нижнетагильский музей изобразительных искусств
- Г-346
Зима пришла
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-1759
Молодой шахтёр
- Paper, .
- Художественный музей «Арт-Донбасс», Донецк
На Енисее
- Canvas, oil.
- Самарский областной художественный музей
- Ж-896
На новые земли
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-665
Подарок
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-267
Портрет А. Кастеева
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-906
Пришли на медосмотр
- 1954
- Canvas, oil. 75 х 101
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Танцовщица Амина Дильбази
- Canvas, oil.
- Азербайджанский Национальный Музей Искусств (Баку)
- R-956
У больной учительницы
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-1640
Чеченка
- 1954
- Canvas, oil. 105 х 63
- Музей Чеченской Республики, Грозный
- 1264
Дыхание весны
- Canvas, oil.
- The State Russian Museum
- Ж-6784
Оленевод
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-664
Подарки к Новому году
- Paper, watercolours, gouache.
- Азербайджанский Национальный Музей Искусств (Баку)
- Q-1207
Портрет Мехти Гусеинзаде
- Canvas, oil.
- Азербайджанский Национальный Музей Искусств (Баку)
- R-1019
Портрет Шакен Ахметжановой (Казашка)
- .
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
Портрет секретаря комитета комсомола колхоза-миллионера Марии Палкиной
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-859
Птичница Таня Куратова
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-0740
С покупками
- Canvas, oil.
- Ярославский художественный музей
- Ж-647
Ленинград в борьбе. (Дежурные МПВО)
- Canvas, oil.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-670
Медицинская помощь
- Paper, watercolours, gouache.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ГР-508
На станции Восток. Антарктида
- Tempera, .
- Государственный художественный музей Алтайского края (Барнаул)
- ГХМАК КП-2949 Ж-641
Плавка выдана
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-111
Портрет Калыя Молдобасанова
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 4976-1511ж
Портрет писателя В. П. Катаева
- Canvas, oil.
- Самарский областной художественный музей
- Ж-868
Портрет писателя Казахстана Т. Кажибаева
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-21
Чабан
- 1956
- Marble, carving. 92 х 77 х 256
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 85
Let Us Beat Swords into Plowshares
- Design of the monument
- 1957
- Bronze. 90 х 30 х 70
- The State Russian Museum
- СО-550
The monument Let Us Beat Swords into Plowshares was donated to the United Nations and installed in front of UN Headquarters in New York. In the words of its creator, “A man is reforging a sword into a plow, expressing the aspiration of people of good will to struggle for disarmament for the sake of the triumph of peace on our planet.”
Warm Day
- 1957
- Canvas, oil. 190 х 122
- The State Russian Museum
- Ж-7486
The painting emblematizes the beginning of Soviet art’s process of de-Stalinization, which gathered momentum after the official denunciation of Stalin’s personality cult in 1956. This image of a girl resting after some ordinary housework had no connection with any existing ideological formulae. Whether consciously or not, Levitin avoids all Socialist Realist portrait and subject clichés in the canvas, simply affirming the value of the moment, the “here and now”. Admiration of youthful beauty and enjoyment of sunlight and warmth: these basic joys common to all humanity are shared by the artist with viewers in sincere fashion, with no imposed ideological message.
Zoya
- Cast in 1988
- 1957
- Bronze. 183 x 57 x 48
- The State Russian Museum
- СО-1795
Богатыри Донбасса
- Canvas, oil.
- Луганский художественный музей
В правлении колхоза
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 1317-ж
Вся власть Советам!
- Paper, linocut.
- Симферопольский художественный музей
- Г-1114
Дзержинский с беспризорником
- 1957
- . 41 x 17 x 16
- The State Russian Museum
- СО-2910
Защитники Брестской крепости
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-4366
Интернационал
- 1957–1958
- Canvas, oil. 285 x 128
- The State Russian Museum
- Ж-8121
Колхозница
- .
- The State Russian Museum
- СО-519
Ленин в Третьяковской галерее
- 1957
- Canvas, oil. 97 х 88
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-46
На винограднике
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 1850-741ж
На всем пути народ стоял
- 1957
- Canvas, oil. 200 х 352
- The State Russian Museum
- Ж-7567
На колхозной стройке
- 1957
- Canvas, oil. 121 х 240
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Новые знакомые
- Canvas, oil.
- Симферопольский художественный музей
- Ж-545
Покорители
- Canvas, oil.
- Национальный музей Таджикистана, Душанбе
- Ж 1855
Портрет комиссара продотряда Т. Т. Щукина
- Canvas, oil.
- Тамбовский областной краеведческий музей
- КП №13394-2
Портрет новатора производства завода Ростсельмаш Колесникова
- 1957
- Canvas, oil. 105 х 80
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Пробуждение (За мир и независимость)
- 1957
- Canvas, oil. 300 х 280
- The State Russian Museum
- Ж-7566
Сельский концерт
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-710
Творческий отчет (Групповой портрет омских художников)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-677
Уснул
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-412
Female Builder
- 1958
- Forged copper, wood. 120 x 66 x 52; base: 12 x 55 x 60
- The State Russian Museum
- СО-861
Female Builder belongs to the early period of Nina Zhilinskaya’s oeuvre. This is one of the rare works in the museum collection reflecting the principles of the “severe style”. The sculpture is distinguished by the antiheroic nature of its subject, a terseness and laconism of language and generalization of form. At the same time, its use of the expressive potential of its material, hammered copper, and its powerfully decorative character point towards the future evolutionary path of Zhilinskaya’s art, which would embody neo-Baroque principles in Moscow sculpture.
Road builders
- 1958
- Canvas, oil. 114 х 206
- Калининградский музей изобразительных искусств
- Ж-421
Азербайджанские чаеводы
- Canvas, oil.
- Азербайджанский Национальный Музей Искусств (Баку)
- R-1452
В отпуске
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-645
В отряд к Фрунзе
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 1917-766ж
Высоко в горах
- 1958
- Canvas, oil. 125 х 200
- Музей Чеченской Республики, Грозный
- 1281
День начался
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-3607
Избач
- 1958
- Canvas, oil. 79 х 68
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-67
Пастушок
- Wood.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- Инв. №1998-146-с
Подруги
- 1958
- Canvas, oil. 70 х 150
- Музей Чеченской Республики, Грозный
- 1302
Полдень на целине
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-1338
Портрет Степана Григорьевича Писахова
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2537 АОМИИ
Портрет композитора Кара Караева
- Marble, carving.
- Азербайджанский Национальный Музей Искусств (Баку)
- H-218
Портрет скульптора А. Е. Зелинского с дочерью
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1105
Проводы в школу
- 1958
- Canvas, oil. 70,5 x 122,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
Сельский врач
- 1958
- Canvas, oil. 84 х 205
- Музей Чеченской Республики, Грозный
- 1282
Kamchatka Fishermen
- 1959
- Copper. 95 x 105 х 142
- The State Russian Museum
- СО-870
In Kamchatka Fishermen we see a reflection of the artist’s impressions from his trip to Kamchatka in 1958 as part of a geological expedition. The lean, plastic language, expressed in the gestures and choppy lines of the fishermen’s faces and clothing, reflects the main stylistic features of the so-called “severe” style. In contrast to the Stalin era, when only labour-related accomplishments and whitewashed ceremonial activities were depicted, in the period of Khrushchev’s “thaw” artists strove to show the difficult tasks and working conditions of people in various professions.
Morning
- 1959–1960
- Canvas, oil. 160 x 330
- The State Russian Museum
- Ж-7740
The artist’s concept for the painting "Morning" is connected with his impressions of the area around Lake Onega, which he visited in 1955. It synthesises motifs that the artist refracted into a poetic image of a spring morning on a collective farm. In this image, all the artistic techniques used work: the horizontal frieze design of painting, the rhythmic saturation, and the richness of the emotional hues. The painting is monumental, a kind of song about the zest for life of the inhabitants of this world.
Будни Сталинградской ГЭС
- Canvas, tempera.
- Самарский областной художественный музей
- Ж-1034
В годы войны
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-815 АОМИИ
В память погибшим
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-42
Жизнь ненцев на Маточкином шаре. Чумы
- 1959
- Canvas, oil. 48,0 x 70,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-136
За нашу партию. Золотая свадьба
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-460
Колхозные ясли
- 1957-1960
- Canvas, oil. 140 х 200
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Конюх лесничества Петр Тоньшин
- Canvas, oil.
- Самарский областной художественный музей
- Ж-988
На запани
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-788 АОМИИ
На мирной земле
- 1959-1960
- Canvas, oil. 240 х 225
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Ополченцы
- Canvas, oil.
- The State Russian Museum
- Ж-7585
Портрет М. М. Пришвина
- 1959-1960
- Canvas, oil. 119,5 х 134,5
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Портрет бригадира А. И. Перепелкина
- 1959
- Canvas, oil. 172 х 113
- The State Russian Museum
- Ж-7881
Портрет делегата XXI съезда КПСС А. Ф. Кузьмина
- Canvas, oil.
- Самарский областной художественный музей
- Ж-975
Портрет медсестры
- Paper, tempera.
- Сахалинский областной художественный музей
- Ж-1338
Портрет председателя колхоза М. Г. Долгова
- 1959
- Canvas, oil. 198 х 115,5
- The State Russian Museum
- Ж-7839
Праздник в Вороново (Чувашия)
- Canvas, tempera.
- Самарский областной художественный музей
- Ж-1007
Тамара Хатанзейская, заведующая Окружной библиотекой
- 1959
- Cardboard, oil. 40,5 х 30,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-19
Танец в степи
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-108
Трактористка
- 1959
- Canvas, oil. 156 x 90
- The State Russian Museum
- Ж-7550
Штукатуры
- Canvas, oil, tempera.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-677
Family. 1945
- 1957–1964
- Canvas, oil. 175 x 254
- The State Russian Museum
- Ж-8141
The name of Victor Ivanov instantly conjures up images of courageous, wise and handsome people. These features are incarnated in the “peasant Madonna” gathering her family around the table after the post-war jubilation has died down and life has returned to normal. This patient heroine has awaited the return of her husband from the front and now sits at the head of the table. The relief-like composition and the austere silhouettes exude an air of solemnity. The rough and angular drawing, harsh forms and ringing tones create a mood of tension.
In the Field
- 1958–1960
- Canvas, oil. 170 x 306
- The State Russian Museum
- Ж-7691
Picking up the Banner
- Canvas, oil.
- The State Russian Museum
- Ж-8120
Although Helium Korzhev’s Communists triptych (1959–60) depicts the events of the revolution, it is inherently linked to the period of the Khruschev Thaw, when Soviet art rejected the external pomp and embellished reality of the Stalin period. Korzhev’s oeuvre lay at the heart of an entire movement known as the “severe style.” This particular work is the central part of the artist’s Communists triptych. The subject of the composition is extremely similar to Ivan Shadr’s Cobblestone – Instrument of the Workers (cat. 239). Korzhev always underlined his fascination with the famous Soviet sculpture and his own desire to scale similar artistic heights. Austere in colour and ascetic in technical execution, Korzhev’s dramatic and close-up compositions are like stills from a movie.
В вечерний институт
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 2240-877ж
В моем городе
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 1594-ж
Гомер (Рабочая студия)
- 1960
- Canvas, oil. 290 х 140
- The State Russian Museum
- Ж-8119
Гроза прошла
- 1960–1961
- Canvas, oil. 170 x 267
- The State Russian Museum
- Ж-8140
Казахстанский мартеновский цех
- 1960
- Canvas, oil. 78 х 100
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 1339
На лесах
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-8339
Портрет Б. И. Россинского
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-756
Портрет доярки Натальи Клименко
- 1960
- Canvas, oil. 184 × 212
- Донецкий республиканский художественный музей
- Ж-554
Портрет художника Г. Нисского
- Cardboard, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2344 АОМИИ
Прачка
- 1960
- Canvas, oil. 120 х 98
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-59
Рабочее утро
- 1960
- Canvas, oil. 282 × 215
- Донецкий республиканский художественный музей
- Ж-668
Ремонтники
- Canvas, oil.
- Азербайджанский Национальный Музей Искусств (Баку)
- R-1293
Noon
- Canvas, oil.
- The State Russian Museum
- Ж-7840
Almost all the paintings by Arkady Plastov are devoted to the life of peasants. Having studied at the Stroganov Central College of Art and Industry (1912-1914) and the Moscow School of Painting, Sculpture and Architecture (1914-1917) Plastov returned to his home village of Prislonikha in the Province of Simbirsk (Nowadays - the Ulyanovsk region) and devoted his works to its people. Each stroke of the painting is trembling and full of colour and light. The subject of the picture is taken from life as is usual for the artist. On a hot day a man and a woman have ridden by motorcycle to the well and are washing their flushed warm faces with the cool water and in the depth of the well the sun itself is shining and its reflections are falling on their faces, clothes and the grass.
Like a precious cloth the painted surface of the canvas is woven from thousands of different strokes. The harmony of paints, complicated and subtle play of light, sharp contrasts - all these are subordinated to the expression of joy and fullness of human existence. The midday, the Nature at its zenith and the peak of the human life – it is a timeless theme of art. And though the contemporary reality is marked by a characteristic feature – a motorcycle whose iron frame can be seen through the lace of green grass - this reality bears no relation to the essential qualities of the painted canvas.
Arkady Plastov continued the traditions of Russian Romanticism and first of all of Brullov and Venetsianov. In his works Plastov revealed the idea of harmonious merging of a man with nature. The artist does it freely using the material of simple life but he gives to it real significance, which marks the true work of art.
Волнующие события
- 1961-1962
- Canvas, oil. 180 х 300
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Девушка из метро
- 1961
- Canvas, oil. 106 х 81
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Дневная смена
- 1961
- Canvas, oil. 70 х 140
- Атырауский областной музей художественного и прикладного искусства имени Шаймардана Сариева
- инв.№ нқ 1-974
Здравствуй, Земля
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1477
Карагандинка
- 1961
- Canvas, tempera. 160 х 64
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 921
Каракум
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-1541
Колхозный дом. (Мирные дни)
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1460
На трудовой вахте
- Paper, .
- Череповецкое музейное объединение
- Гр-832
Оператор
- Paper, .
- Череповецкое музейное объединение
- Гр-833
Полярники
- 1961
- Canvas, oil. 157 х 294
- The State Russian Museum
- Ж-8458
Портрет В. А.Фаворского
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-103
Портрет Героя Социалистического Труда Пылаевой А. Г.
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-464
Портрет Героя Социалистического труда М. А. Македонского
- Canvas, oil.
- Симферопольский художественный музей
Портрет матери-героини Веры Петровны Пакетовой с детьми
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2002
Судоремонтники. Подруги
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-132
Хоккей
- 1961
- Canvas, oil. 136,0 x 139,0
- Мурманский областной художественный музей
- Ж-235
Эскиз к картине "Цветы Киргизии"
- Canvas mounted on cardboard, oil.
- Ярославский художественный музей
- Ж-1324
Бригадир сплава
- 1962
- Canvas, oil. 116 х 134,5
- Музей Чеченской Республики, Грозный
- 1374
В дороге
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1043
Во имя науки
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- ГХМАК КП-3287 Ж-744
Групповой портрет шахтеров
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж/дв-1143
Летите, голуби!
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-544
Новоселы
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-8953
Переселенцы
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж-1398/дв
Портрет академика А.И.Опарина
- 1962
- Canvas, oil. 114,0 x 84,0
- Муромский историко-художественный музей
- Ж-230
Портрет колхозницы Л. Синюриной
- 1962
- Canvas, oil. 100 х 80
- Калининградский музей изобразительных искусств
- Ж-2533
Портрет композитора С. Мухамеджанова
- 1962
- Canvas, oil. 164 х 88
- Атырауский областной музей художественного и прикладного искусства имени Шаймардана Сариева
- инв.№ 1-975
The End
- 1963
- Canvas, oil. 201 x 250
- The State Russian Museum
- Ж-8133
«Кок-пар» из серии «Казахские национальные игры»
- 1963
- Paper, lithography. 52 х 73
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 2822
Алты бакан
- Paper, watercolours.
- Восточно-Казахстанский областной архитектурно-этнографический и природно-ландшафтный музей-заповедник (Усть-Каменогорск, Казахстан)
В заводской библиотеке
- Paper, .
- Азербайджанский Национальный Музей Искусств (Баку)
- Q-3850
В пути
- Canvas, oil.
- Азербайджанский Национальный Музей Искусств (Баку)
- R-1684
Гимнастика
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-1284
Молодежь на ферму
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-573
Мордовский поэт Никул Эркай
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж 257
Над Волгой
- Canvas, tempera, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-117
Портрет Зары Долухановой
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2359 АОМИИ
Сельский киномеханик
- 1963
- Canvas, oil. 76 х 200,5
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-115
Чеченка
- 1963
- Canvas, oil. 80 х 60
- Музей Чеченской Республики, Грозный
- 1301
23 января 1924. Горки
- 1964
- Canvas, oil. 315 х 224
- The State Russian Museum
- Ж-8289
Gymnasts of the USSR
- 1964–1965
- Hardboard, gesso, tempera. 270 x 215
- The State Russian Museum
- Ж-8816
Dmitry Zhilinsky often manifested his creative aspirations in portraiture. One of the idiosyncrasies of his art was his habit of depicting in the concrete not the fleeting, but the most important element of a man’s personality. Zhilinsky preferred clear, collected and intellectual images. He was inspired by the art of the Old Masters, particularly the early Italian Renaissance and Old Russian painting. The artist openly addresses the art of the past in his modem images: «l love exactness of expression and completeness of form – in my own understanding of these words, of course». Zhilinsky’s works are distinguished by their pure and decorative tones, melodious lines, plastic silhouettes and harmonic compositions. The artist’s painting technique was also unusual; he frequently worked in tempera on Ievkas, lending a colourist sublimity to his works. «Gymnasts of the USSR» is, in essence, a group portrait of famous Soviet sportsmen, many of them world and Olympic champions. Among the figures in the background are Polina Astakhova (triple Olympic and twice world champion), Boris Shakhlin (triple Olympic and twice world champion) and Yury Titov (Olympic and world champion, later president of the International Federation of Gymnasts). An original personal «tuning» of thought, will and feelings can be seen in the heroes’ faces and expressive gestures. The distinct composition, sharp foreshortenings and pure tones are also psychological.
Буровой мастер Федюшкин
- Cardboard, sanguine, pastel.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ГР-157
Вечер в тундре
- 1964
- Canvas, oil. 170 х 275
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Волгоградские хлеборобы
- Oil, canvas.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-842
Групповой портрет студентов-скульпторов
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-1491
Отдел контроля
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2369
Парней увозят поезда
- Canvas, tempera.
- The State Russian Museum
- Ж-8128
Перерыв. Завод Оргсинтез
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-979
Портрет первой лётчицы-чеченки Ляли Насухановой
- 1964-1965
- Canvas, oil. 95 х 151
- Музей Чеченской Республики, Грозный
- 1062
Портрет пограничника А. Скулина
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж/дв-1208
Работница рыбокомбината-2
- Cardboard, pastel.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ГР-68
Строители Волго-Балта
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-3908
Чайка (Портрет В.В. Терешковой)
- Canvas, tempera.
- Ярославский художественный музей
- Ж-1033
Аджимушкайцы
- Canvas, oil.
- Симферопольский художественный музей
- Ж-726
Геолог. Начальник партии
- Paper, graphite pencil.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ГР-163
Династия мараловодов Поповых
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-1291
Муса Джалиль в Моабитской тюрьме
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-2926
На страже северного неба
- 1965
- Canvas, oil.
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-224
Новая квартира
- Canvas, oil, .
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-1749
Портрет Ю. Маммадалиева
- Canvas, oil.
- Азербайджанский Национальный Музей Искусств (Баку)
- R-1725
Портрет летчика Александра Покрышкина, трижды Героя Советского Союза
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-170
Портрет отца
- Canvas, oil, wood.
- Егорьевский историко-художественный музей
- Ж 433
Сахалинрыбпром
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж/дв-1160
Студентка
- Paper, .
- Азербайджанский Национальный Музей Искусств (Баку)
- Q-1584/1
Учительница Феня Лаптандер
- 1965
- Cardboard, oil. 32,2 х 40,5
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-81
Заочница
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-0653
Иллюстрация к поэме В. Маяковского «В. И. Ленин», л.3.
- Paper, .
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Г-1067
Лесорубы из Эргли
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-886
MANIZER Matvei Genrikhovich
1891, St Petersburg — 1966, MoscowSculptor. Studied in Petrograd / Leningrad at the Baron Stieglitz Central School of Technical Drawing (1908–1909); School of Drawing of the Society for the Encouragement of the Arts (1909–1911); Higher School of Art at the Imperial Academy of Arts (1911–1916). Contributed to exhibitions (from 1916). Vice President of the USSR Academy of Arts (1947–1966). Headed the sculpture studio at the Academy of Arts in Leningrad (1947–1952) and his studio at the Vasily Surikov Institute of Art in Moscow (from 1952). Winner of the Stalin Prize (1941, 1943, 1950). Gold medal from the Academy of Arts for the Lenin statue for the Soviet pavilion at the World Exhibition in Brussels (1958).
Никич-Криличевский Анатолий Юрьевич
Осипов Борис Иванович
Пузырьков Виктор Григорьевич
Пяткин Дмитрий Иванович
Соколов Яков Михайлович
Якупов Харрис Абдрахманович
Фаттахов Лотфулла Абдульменович
Арефин Степан Фёдорович
Боня Григорий Васильевич
Давыдов Владимир Васильевич
Усманов Махмуд Усманович
Корнеев Борис Васильевич
Levitin Anatoly Pavlovich
born 1922, MoscouPainter; teacher. Studied at the art high school of the Ilya Repin Institute of Painting, Sculpture and Architecture in Leningrad (from 1936). Fought in World War II (1941–1945). After the war, enrolled at the Ilya Repin Institute of Painting, Sculpture and Architecture (1945–1951). Contributed to exhibitions (from 1951). Bronze medal at the World Exhibition in Brussels (1957), silver medal of the USSR Academy of Arts (1958). Honoured Artist of the RSFSR (1963), People’s Artist of the RSFSR (1980). Head of a painting studio in Krasnoyarsk (from 1987); professor (from 1994). Full member of the USSR Academy of Arts (1988); member of the presidium of the Russian Academy of Arts (1997). Gold medal from the Russian Academy of Arts (2002).
Тулин Юрий Нилович
Непринцев Юрий Михайлович
Ротницкий Семён Аронович
Рябинский Евгений Владиславович
Чарский Евгений Гаврилович
Чебаков Никита Никанорович
Черкасский Абрам Маркович
Шпак Фаина Анатольевна
Андреев Владимир Андреевич
Konenkov Sergei Timofeyevich
1874 Village Karakovichi, Smolensk Province. - 1971, MoscowSculptor and creator of monuments. He studied at the Moscow Institute of Painting, Sculpture and Architecture under Sergei Ivanov and Sergei Volnukhin. He was sent abroad by the institute (1897) and visited Germany and Italy. He received the grand silver medal in 1899 for his statue "Stone Warrior" and was accepted at the Higher Arts Institute of the Imperial Academy of Arts. In 1902 he received the title of Artist-Sculptor for his statue "Samson Breaking the Bonds". He was a member of the New Society of Artists (from 1908), the Union of Russian Artists (from 1909), World of Art (from 1917) and was an active member of the Imperial Academy of Arts (from 1916). He lived in Moscow (1902–1923) and New York (1924–1945). In 1945 he returned to Moscow. He was an active member of the USSR Academy of Arts (from 1954) and was a People\'s Artist of the USSR (1958). Images from the Russian folk epos occupy an important position in Konenkov\'s creative work. He worked successfully with portraits and created poetic depictions of the naked female form.
Мамбеев Сабур Абдрасулович
Воробьева Ирина Николаевна
Гринин Борис Иванович
Жолток Валериана Константиновна
Зубцов Анатолий Тимофеевич
Kabachek, Leonid Vasilievich
1924, Makeevka - 2002, St PetersburgPainter, genre artist, portraitist and landscapist. Studied under E. Luzhkovsky at the First Children\'\'\'\'s School of Art in Leningrad (1939–1941), under
V. Sokolov at the Secondary School of Art (1941‒1942,1945–1947), under Boris Johanson and L. Zaitsev at the Ilya Repin Institute of Painting, Sculpture and Architecture (1947–1953) and in Alexander Gerasimov\'\'\'\'s studio at the Ilya Repin Institute of Painting, Sculpture and Architecture (1953‒1957). Contributed to exhibitions (from 1953). Honoured Artist of the RSFSR (1968).
Клюкин Олег Павлович
Михайлов Константин Михайлович
Нелюбин Вячеслав Александрович
Нурмухаммедов Нагимбек Джелалэддинович
Самсонов Евгений Иванович
Чернявский Константин Михайлович
Дарьин Геннадий Александрович
Дудник Степан Ильич (Иудович)
Керимов Узеир Иззет оглы
Неменский Борис Михайлович
Садыхзаде Октай Сеид Гусейн оглы (Октай Сеид-Гусейнович)
Erzya (Nefyodov) Stepan Dmitrievich Nefyodov
1876, Baevo Alatyrsky County Simbirsk, now Ardatov District Republic of Mordovia - 1959, MoscowБилык Анатолий Петрович
Бурак Александр Филиппович
Ломакин Олег Леонидович
Носкович (Лекаренко) Нина Алексеевна
Ру́бан Игорь Павлович
Усубалиев Алтымыш
Айтиев Гапар Айтиевич
Апанович Виктор Антонович
Ахремчик Иван Осипович
Баланова Клавдия Ерофеевна
VAINMAN MikhailI
1913 – 1973Козлов Тимофей Павлович
Korzhev Helium
1925, Moscow - 2012, MoscowЛеонтьев Леонид Павлович
Поплавский Михаил Константинович
Руднев Василий Филиппович
Селиванов Иван Михайлович
Семяшкин Александр Васильевич
Хабибуллаев Зухур Нурджанович
Ханин Николай Михайлович
Чередин Борис Александрович
БАРАНЧЕЕВ Михаил Сергеевич
Буторов Константин Леонидович
Жилинская Нина Ивановна
Žilinskij Dmitrij Dmitriyevich
1927, Volnovka (Krasnodar Region) — 2015, MoscowPainter, graphic artist, portraitist, author of thematic pictures. Studied under Chernyshev, Chuikov and Korin at the Vasily Surikov School of Art in Moscow (1946-51). Advised by Vladimir Favorsky. Contributed to exhibitions (from 1954). Honoured Artist of the RUSSIAN SOVIET FEDERATED SOCIALIST REPUBLIC.
Кабанов Виктор Павлович
Карягды Джалал Магеррам оглы
Карякин Александр Петрович
Кожахметов Джакуль
Корбаков Владимир Николаевич
Садыков Тургунбай Садыкович
Семаков Геннадий Анатольевич
Стадничук Иван Яковлевич
Безумов Александр Николаевич
Боско Юрий Иванович
Веселова Нина Леонидовна
Ты́ко Вы́лка (русское имя-Илья Константинович Вы́лка)
Zagonek Vyacheslav Franzevich
1919, Irkutsk — 1994, St PetersburgКириллов Алексей Игнатьевич
Китаев Ахмед Ибадуллович
ЛАВРЕНКО Борис Михайлович
Лобас Борис Федорович
Moiseyenko Yevsei Yevseevich
1916, Uvarovichi (White Russia) - 1988, LeningradPainter, graphic artist, portraitist, landscapist, genre painter, history painter. Studied at the Mikhail Kalinin School of Art and Industry in Moscow (1931-35) and the Institute of Painting, Sculpture and Architecture (1936-41, 1945-47). Contributed to exhibitions (from 1947). Taught at the Institute of Painting, Sculpture and Architecture (1958-89). Professor (1963). People\'\'s Artist of the UNION OF SOVIET SOCIALIST REPUBLICS, full member of the Academy of Arts of the UNION OF SOVIET SOCIALIST REPUBLICS. Awarded the Lenin Prize (1974) and the State Prize of the UNION OF SOVIET SOCIALIST REPUBLICS (1983).
Панкратов Василий Егорович
Popkov Viktor Efimovich
1932, Mytischi — 1974, Moscow
ROMANYCHEV Alexander
1919 – 1989Савченкова Мария Владимировна
SHAKHOVSKOI Dmitry Mikhailovich
1928, Sergiev Posad near Moscow — 2016, MoscowSculptor. Studied at the Mikhail Kalinin Art and Industry School (1942–1947); Moscow Institute of Applied and Decorative Arts, sculpture department (1947–1953). Contributed to exhibitions (from 1954). Taught at the Moscow Architectural Institute (1973–1974).
Андриюк Павел Степанович
Бельский Михаил Гаврилович
Гавриленко Павел Никифорович
Деймант Леонид Федорович
Зарецкий Виктор Иванович
Ivanov, Viktor Ivanovich
born 1924, MoscowPainter, graphic and genre artist, portraitist, landscapist. Studied under Pavel Koshevoy, Konstantin Molchanov and Vasily Pochitalov at the Secondary School of Art at the Moscow School of Art and Industry (1939–1944) and under Alexei Gritsai, Yury Kugach, Vasily Pochitalov and Vasily Yakovlev at the Vasily Surikov Institute of Art in Moscow (1944–1950). Contributed to exhibitions (from 1950). Member of the Union of Artists (from 1951). Winner of the State Prize of Russia (1996). In 2004, the Viktor Ivanov and the Ryazan Land Gallery opened in Ryazan.
Катц Юрий Леонидович
Кузнецова Берта Израилевна
Салахов Таир Теймур оглы
Басов Василий Николаевич
Бернадский Валентин Данилович
Ветрогонский Владимир Александрович
Голихин Евгений Ильич
Загорская Нина Борисовна
Илтнер Эдгард Карлович
Крылов Виктор Иванович
Ларичев Михаил Алексеевич
Попов Петр Макарович
Пясковский Михаил Григорьевич
Smolin Alexander Alexandrovich
1927, Moskow – 1994, MoskowPainter, master of genre paintings and landscapes. Studied at the Vasily Surikov Institute of Art in Moscow (1953–1959). Contributed to exhibitions (from 1959). Member of the Moscow Union of Artists (1962). Worked together with his brother Pyotr Smolin (from 1958). Honoured Artist of the RSFSR (1981).
Smolin Pyotr Alexandrovich
1930, Moskow – 2001, MoskowPainter; master of genre paintings, landscapes and still lifes. Studied at the Moscow Secondary School of Art (1944–1951) and the Vasily Surikov Institute of Art in Moscow (1951–1957). Contributed to exhibitions (from 1954). Member of the Moscow Union of Artists (1958). Worked together with his brother Alexander Smolin (from 1958). Honoured Artist of the RSFSR (1981); corresponding member of the Russian Academy of Arts (1997).
Tkachev, Alexei Petrovich
Born 1925, Bezhitsa, Bryansk RegionPainter, graphic artist, genre painter, portraitist, landscapist, painter of still lifes. Studied at the Bezhitsa House of Pioneers (1936–1938); secondary art school in Moscow; Moscow Institute of Art (1939–1945) and at the Moscow Institute of Art (1945–1951). Contributed to exhibitions (from 1950).
Tkachev, Sergei Petrovich
Born 1922, Bezhitsa, Bryansk RegionPainter, graphic and genre artist, portraitist, landscapist, painter of still lifes. Studied at the Bezhitsa House of Pioneers (1936–1938), Vitebsk School of Art (1938–1941), Sverdlovsk School of Art (1945–1946) and at the Moscow Institute of Art (1946–1952). Contributed to exhibitions (from 1952).
Данциг Май Вольфович
Климанов Анатолий Алексеевич
Манткава Гиви Михайлович
Сатель Георгий Эдуардович
Ахундов Надир Сафар оглы
Ибраев Шангерей Ибраевич
Илюхин Владимир Дмитриевич
Нариманбеков Видади Якубович
Порет Алиса Ивановна
Сидоркин Евгений Матвеевич
Тальберг Борис Александрович
Бородин Алексей Иванович
Емельянов Владимир Александрович
Куделькин Виктор Иванович
Мазитов Амир Нуриахметович
Мордовин Валентин Кириллович
Смердов Геннадий Николаевич
Федосов Никита Петрович
Шварков Борис Павлович
Бут Николай Яковлевич
Костин Вячеслав Николаевич
Кугач Михаил Юрьевич
Поморцев Борис Николаевич
Рзакулиев Алекпер Алескер оглы
Степанов Юрий Викторович
Татаренко Александр Александрович
Токмаков Олег Иванович
Щербаков Борис Валентинович
Айтбаев Салихитдин Абдысадыкович
Андреев Константин Григорьевич
Бисти Дмитрий Спиридонович
Self-Portrait
- 1918
- Canvas, oil. 80,5 x 65
- The State Russian Museum
- Ж-2400
Портрет М. А. Тройницкой
- 1924
- Canvas, oil.
- The State Russian Museum
- Ж-8790
Self-Portrait (Artist)
- 1933
- Canvas, oil. 73 x 66
- The State Russian Museum
- ЖБ-1516
A growing predilection for figurativeness can be noted in Kazimir Malevich’s later works, particularly his portraits. Although this fascination might at first sight seem induced, it does not in actual fact contradict the internal disposition of an artist who «in the depth of his soul always remained a classic.» In Self-Portrait, Malevich depicts himself dressed in the attire of an Italian doge. His painterly devices are reminiscent of Renaissance frescoes. The artist underlines the reticent expression on his face, his majestic pose and the unusual gesture of the hand, more typical of the depiction of a saint in an icon than a self-portrait. All these details are, however, deliberate, leading us away from the characteristics of a concrete personality. Malevich therefore felt compelled to make the inscription Artist on the back of the canvas. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 344.
In this Self-Portrait from 1933, which Malevich titled Painter, the artist presents himself in the typical costume of an Italian Doge, which was the name given to the leaders of the maritime republics of Venice and Genoa. It is a costume with a rather geometric structure, and which combines the colors of black, white, red and green.
The positioning of his hand, as though he were holding an invisible book, sends a message to his successors and illustrates the key to gaining an understanding of Suprematism, in which true reality is a world without objects.
In a literary piece from the early 1920s, titled Painter, Malevich wrote the following epilogue: «The painter describes a world and shows it to the observer. The painter needs to be surrounded by things, because through him it is possible to discover new visions; a new symmetry in nature. The painter finds what we customarily refer to as ‘beauty’».
In this, his final self-portrait, Malevich presents himself as the Creator, the bringer of higher knowledge and liberty; a demiurge who governs the world according to his own rules; a painter who refuses be controlled by the irrational forces of the historical period in which he finds himself. As if to counter his own doubts and internal creative contradictions, his human imperfection and the miseries he experienced over the course of his life, Malevich is asserting his right to establish a posthumous myth of himself for his successors.
Malevich died in May 1935. His funeral ceremony and burial, organized by his followers and friends, constituted the last public act of Suprematism in Soviet Russia. The ceremony took place at the St Petersburg Union of Artists, where an exhibition of artworks took place while the satirical writer Daniil Ivanovich Kharms read poems. The funeral procession took place on Nevsky Prospect, which was then known as the 25th of October Prospect. Malevich’s coffin, which was designed in the Suprematist style, was laid on the open bed of a truck, with his Black Square painting displayed on the truck’s hood. After his cremation in Moscow, the urn containing Malevich’s ashes was buried in the village of Nemchinovka, near a solitary oak tree.
Above the final resting-place of Kazimir Malevich, the self-styled «President of the Universe», a tombstone was laid. It was designed by Nikolai Suetin, and was in the shape of a cube, decorated with the image of the painter’s Black Square.
Автопортрет
- 1933-1934
- Canvas, oil. 93 х 66
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-568
Портрет Н. Н. Пунина
- 1933
- Canvas, oil. 69 х 57
- The State Russian Museum
- ЖБ-1517
Портрет композитора С. С. Прокофьева
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-148
Artists of the Konstantin Stanislavsky Theatre Meeting Students of the Nikolai Zhukovsky Air Force Academy
- 1938
- Canvas, oil. 297,5 x 375,5
- The State Russian Museum
- Ж-5602
The canvas was painted by Efanov for the exhibition 20 Years of the Workers’ and Peasants’ Red Army and Navy and then displayed at the New York World Exhibition in 1939. Among the depicted guests are many well-known performing artists of the day in addition to aviators and Konstantin Stanislavsky himself. The appearance in Efanov’s oeuvre of a group portrait of stage performers is no accident: the artist was an actor and lifelong theatregoer himself, and his wife was an actress at the Stanislavsky Theatre. And though Efanov abandoned the stage in the mid-1930s, the theatre remained dear to him. The event portrayed in the painting took place on 22 December 1935 in Stanislavsky’s apartment studio. The artist began work on the canvas in 1937, finishing it a year later, after the great di rector’s death. Depicted in the composition are thirty-eight people, all painted by the artist from life. In his autobiography Efanov recalls: “I painted the performers and aviators directly from life. They posed for long stretches at a time, sometimes at night. All the painting’s details — the still life on the table, the chairs and the enormous carpet — were also painted from life.” Efanov also met with Stanislavsky numerous times, studying his character, bearing and gestures and making many sketches and studies. The multi-figure composition is masterfully arranged and the interior and festive still life on the table painted freely and broadly, without distracting attention from the scene’s main action. The composition’s semantic focus is the director’s standing figure, towards which all present are turned. The theatre headed by Stanislavsky and bearing his name enjoyed sponsorship over the Nikolai Zhukovsky Air Force Academy, whose members are also present in the scene, demonstrating the mutual relations between different social strata. In full accord with the ideological demands of its time, the painting was intended to illustrate the idea of the beauty and dignity of the era’s new people and underscore the notion that true social unity was possible only within a socialist society.
Portrait of Isaac Brodsky
- 1938
- Canvas, oil.
- The State Russian Museum
- Ж-5685
Portrait of Alla Tarasova
- 1939
- Canvas, oil.
- The State Russian Museum
- Ж-5939
А. Н. Толстой в гостях у художника
- 1940–1941
- Canvas, oil. 142 х 168
- The State Russian Museum
- Ж-8647
Портрет А. Н. Толстого
- 1940
- Canvas, oil. 105 x 98
- The State Russian Museum
- Ж-5605
Портрет заслуженного деятеля искусств, лауреата Сталинской премии Н. С. Самокиша
- Canvas, oil.
- Симферопольский художественный музей
- Ж-55
Портрет писателя К. А. Тренева
- Canvas, oil.
- Луганский художественный музей
Автопортрет
- 1942
- Canvas, oil. 62 х 48
- The State Russian Museum
- Ж-7940
Портрет И. А. Орбели в кабинете в Эрмитаже
- Lithography.
- The State Russian Museum
- С.Гр.-9749
Портрет скульптора В.П. Акимова
- Canvas, oil.
- Самарский областной художественный музей
- Ж-472
Портрет художника А. А. Блинкова
- Canvas, oil.
- The State Russian Museum
- Ж-4426
Портрет писателя Сергея Владимировича Михалкова с сыном
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-490
Портрет Н. С. Ханаева
- 1945
- Canvas, oil. 155 х 114
- The State Russian Museum
- Ж-5578
Портрет Народного артиста СССР С. Я. Лемешева
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-293
В мастерской скульптора
- 1947
- Canvas, oil. 74,5 х 60
- The State Russian Museum
- Ж-4422
На Академической даче
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2267
Портрет балерины А. Я. Шелест
- 1947‒1949
- Canvas, oil. 145 x 100
- The State Russian Museum
- Ж-5583
Маяковский в 1920 году
- 1950
- Canvas, oil. 214,0 x 114,0
- Мурманский областной художественный музей
- Ж-2690
Портрет дирижера Ниязи
- Canvas, oil.
- Азербайджанский Национальный Музей Искусств (Баку)
- R-895
Портрет О. Л. Книппер-Чеховой
- 1952
- Canvas, oil. 90,5 x 72
- The State Russian Museum
- ЖС-1817
Портрет писателя С. Муканова
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-878
Портрет А. Кастеева
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-906
Танцовщица Амина Дильбази
- Canvas, oil.
- Азербайджанский Национальный Музей Искусств (Баку)
- R-956
Портрет писателя В. П. Катаева
- Canvas, oil.
- Самарский областной художественный музей
- Ж-868
Портрет писателя Казахстана Т. Кажибаева
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-21
Новые знакомые
- Canvas, oil.
- Симферопольский художественный музей
- Ж-545
Творческий отчет (Групповой портрет омских художников)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-677
Портрет Степана Григорьевича Писахова
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2537 АОМИИ
Портрет скульптора А. Е. Зелинского с дочерью
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1105
В память погибшим
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-42
Портрет М. М. Пришвина
- 1959-1960
- Canvas, oil. 119,5 х 134,5
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Тамара Хатанзейская, заведующая Окружной библиотекой
- 1959
- Cardboard, oil. 40,5 х 30,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-19
Портрет художника Г. Нисского
- Cardboard, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2344 АОМИИ
Эскиз декорации к кинофильму «Мирное время». Первое собрание
- Canvas, oil.
- Национальный музей Таджикистана, Душанбе
- ТД-370
Портрет В. А.Фаворского
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-103
Портрет академика А.И.Опарина
- 1962
- Canvas, oil. 114,0 x 84,0
- Муромский историко-художественный музей
- Ж-230
Портрет композитора С. Мухамеджанова
- 1962
- Canvas, oil. 164 х 88
- Атырауский областной музей художественного и прикладного искусства имени Шаймардана Сариева
- инв.№ 1-975
Портрет Зары Долухановой
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2359 АОМИИ
Муса Джалиль в Моабитской тюрьме
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-2926
Портрет поэта Александра Яшина
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-973
Портрет В. А. Пушкарева
- 1967
- Paper, oil. 63 х 47,5
- The State Russian Museum
- ЖС-1178
Портрет писателя Василия Белова
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-588
Поэт Пичков
- 1968
- Cardboard, oil. 35,0 х 25,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-160
Портрет Ш. Айманова
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
Портрет режиссера Комиссаржевского В. Г.
- 1969
- Canvas, oil. 120 х 140
- Музей Чеченской Республики, Грозный
- 1379
Поэт П.А. Ойунский
- Paper, lithography.
- Национальный художественный музей Республики Саха (Якутия)
- НХМ-10147
Портрет Саякбая Каралаева
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 4645-1439ж
Портрет оперной и эстрадной певицы Р. Баглановой
- 1971
- Canvas, oil. 150 х 120
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 188
Святослав Рихтер
- Canvas, oil and wax tempera.
- Тверская областная картинная галерея
- Ж-3148
Портрет заслуженного работника культуры РСФСР, научного сотрудника Хакасского музея Альберта Николаевича Липского
- 1973
- Canvas, oil. 105 х 95
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-4752
Народные писатели Якутии: Амма Аччыгыйа - Н. Е. Мординов, Кюннюк Урастыров - В. М. Новиков, Элляй - С. Р. Кулачиков, Суорун Омоллон - Д. К. Сивцев
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1272
Портрет Махмуда Эсамбаева
- 1974
- Paper, lithography. 90 х 69
- Музей Чеченской Республики, Грозный
- 1741
Portrait of the writer Z. Skuin
- 1975
- Canvas, oil. 114 х 130
- Калининградский музей изобразительных искусств
- Ж-2582
Автопортрет. (Трудовые будни)
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2595
Писатель Гарий Немченко
- Canvas, oil.
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- ИЗО 493
Портрет Д. Д. Шостаковича
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2363 АОМИИ
Портрет композитора Е. Туманян
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-2409
Автопортрет
- Cardboard, tempera.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-6
Портрет Народного артиста КазССР Н. Тлендиева
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-3188
Портрет народной артистки РСФСР Чарковой К. С.
- 1976
- Cardboard, oil. 67 х 50,5
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-10703
Портрет кинооператора Нуртая Борбиева
- Copper.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- Инв. №7509/420-с
Сопричастность
- 1977
- Canvas, oil. 142 х 232
- The State Russian Museum
- Ж-10349
Кордебалет (Светлана Брагина)
- 1978
- Canvas, oil. 108 х 96
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-364
Обь – река-труженица
- Paper, watercolours.
- Музейно-выставочный центр (г. Когалым)
- ОФ-229
П. П. Бажов – сказочник Урала
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-63
Портрет С. П. Кадышева
- 1978
- Canvas, oil. 90 х 121
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-7935
Семья художника
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 3243-ж
Портрет Л. И. Бакеевой
- Canvas, oil.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-31
Омские художники. Групповой портрет
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2188
Жилинские
- 1981
- Hardboard, oil. 71,5 х 70,5
- The State Russian Museum
- Ж-11260
Композитор Г. А. Вавилов
- 1981-1982
- Tempera, lacquer. 101 х 158
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-488
Гости в мастерской художника
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-2396
О родной земле, на своем берегу
- 1982
- Canvas, oil. 131 х 154
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-518
Автопортрет
- 1983
- Canvas, oil. 80 х 50
- Музей Чеченской Республики, Грозный
- 690
Портрет писательницы М. Глушко
- Canvas, oil.
- Симферопольский художественный музей
- Ж-1193
Portrait of the pianist Zh. Kisin
- 1984
- Canvas, oil. 103 х 120
- Калининградский музей изобразительных искусств
- Ж-2066
Портрет Заслуженной артистки РСФСР, народной артистки МАССР А. Александровой
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-159
Автопортрет
- Canvas, oil.
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- ИЗО 804
Выставка в клубе
- Paper, watercolours.
- Музейно-выставочный центр (г. Когалым)
- ОФ-1645
Играет Святослав Рихтер
- 1985
- Wood-shavings plate , tempera. 200 х 150
- The State Russian Museum
- ЖС-111
Краевед Виталий Бардадым
- Bronze, casting.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ск-89
Портрет Д. Джабаева
- Canvas, oil, wood.
- Восточно-Казахстанский областной архитектурно-этнографический и природно-ландшафтный музей-заповедник (Усть-Каменогорск, Казахстан)
Портрет Карена Хачатуряна
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-1142
Портрет М. Ауэзова
- Canvas, oil, wood, .
- Восточно-Казахстанский областной архитектурно-этнографический и природно-ландшафтный музей-заповедник (Усть-Каменогорск, Казахстан)
Портрет искусствоведа А. Каменского
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж-78
Поэма о бессмертии. Триптих
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 4054-ж (а, б, в)
President of the Academy of Sciences of the USSR, Academician A.P. Alexandrov
- 1986
- Canvas, oil. 145 х 125,5
- Калининградский музей изобразительных искусств
- Ж-2272
Деятели искусства и культуры Красноярского края
- Canvas, oil.
- Красноярский художественный музей имени В. И. Сурикова
- Ж-1740
Марийский языковед и историк Ким Васин
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-280
Портрет заслуженного архитектора РСФСР В. Н. Богуна
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-46
Портрет заслуженного работника культуры, директора Большеуринского совхоза А. И. Ярошенко
- Canvas, oil.
- Красноярский художественный музей имени В. И. Сурикова
- Ж-1726
Портрет хакасского поэта, писателя, драматурга Михаила Еремеевича Кильчичакова
- 1988
- Cardboard, oil. 95 х 83
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-6765
Поэт Николай Рубцов
- Canvas, oil.
- Череповецкое музейное объединение
- ЧерМО-9484
Рождение картины
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-1973
Гета. Памяти Г. Н. Бурмагиной
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-1571
Портрет Заслуженного артиста России Г. М. Пушкина
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-526
Фотокорреспондент газеты «Советская культура» Е. А. Халдей
- 1997
- Canvas, oil. 100,0 х 69,0
- Мурманский областной художественный музей
- Ж-606
Земля поэта. Н. М. Рубцов
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-2223
Чародей танца (Махмуд Эсамбаев)
- 2012
- Canvas, oil. 69 х 50
- Музей Чеченской Республики, Грозный
- ФИИ- 748
Мирзезаде Беюкага Мешади оглы
Ильябаев Давид Ядидияевич
Баскаков Николай Владимирович
Вовкушевский Ростислав Иванович
Романов Сахи Иванович
Васильев Валериан Романович
Исмаилова Гульфайрус Мансуровна
Чокморов Суйменкул
Хлебников Григорий Семёнович
Абоев Заур-Бек Петрович
Осипов Афанасий Николаевич
Земзарис Улдис Екабович
Назаренко Татьяна Григорьевна
Овчаренко Эдуард Никифорович
Радишевский Сергей Григорьевич
Тогысбаев Токболат Толепбаевич
Хабаров Валерий Иосифович
Мухутдинов Альбек
Yakovlev, Andrei Alexeevich
1934, Moscow - 2012, St PetersburgPainter. Studied at a secondary school of art in Moscow (1946–1953), Vasily Surikov Institute of Art (1953–1956) and the Ilya Repin Institute of Painting, Sculpture and Architecture (1956–1960). Contributed to exhibitions (from 1961). Winner of the Ilya Repin State Prize (1976). Honoured Artist of Russia (2006). Awarded a gold medal of the Academy of Arts of Russia (2005).
Волочаев Сергей Васильевич
Гардубей Михаил Михайлович
Пехова Екатерина Константиновна
Топоев Андрей Алексеевич
Кириллова Лариса Николаевна
Чекмасов Валентин Сергеевич
Добрынин Виталий Федорович
Федорова Татьяна Сергеевна
Бицираев Саид Элим-Султанович
Бегов Алексей Сергеевич
Белков Юрий Сергеевич
Аканаев Амандос Атибекович
Аполлонов Александр Алексеевич
Назыров Загрутдин Сагадиевич
Нариманбеков, Тогрул Фарман оглы
Петуваш Феликс Муратович
Травников Герман Алексеевич
Тутунов Сергей Андреевич
Дацко Евгений Иннокентьевич
Орлов Степан Егорович
Разин Фёдор Георгиевич
Ряннель Тойво Васильевич
Тарелкин Борис Исидорович
Боргояков Павел Михайлович
Осиев Геннадий Николаевич
Ноздрин Евгений Алексеевич
Тутунджан Джанна Таджатовна
Муржин Анатолий Андреевич
Бубенцов Виталий Николаевич
Новосельцев Юрий Валерьевич
Изюмский Олег Викторович
Textile Workers
- Canvas, oil.
- The State Russian Museum
- ЖБ-988
Alexander Deineka painted this picture following a trip to a mill organised by a Soviet magazine. He was one of the leaders of the Society of Easel Artists, who developed the method of the synthetic reflection of reality. The artist had an uncommonly acute sense of the Zeitgeist, which he captured in his canvases. He masterly arranges the composition from adjacent planes inhabiting different time zones. The rhythms of the looms are united in an ornamental space, while the almost monochrome, silver-white palette lends the picture the precision and sharpness of an artistic statement.
Woman Worker (Portrait in Blue)
- 1927
- Canvas, oil.
- The State Russian Museum
- ЖБ-1325
Alexei Pakhomov’s Woman Worker (Portrait in Blue) occupied a central place at the Circle of Artists exhibition held at the Russian Museum in 1927. Although the artist’s model was his wife, a worker in a cigarette factory, the image is clearly more of a type than a concrete individual. Pakhomov utilises a number of devices to underline the monumentality and grandeur of the image. The woman with the light brown hair is depicted from the knees upwards. The proportions of her body are slightly magnified in comparison with real life, evoking the sensation that she is “cramped” within the canvas. The dynamic turn of the head and torso is halted by the solemn rhythms of the folds of her dress, remotely reminiscent of the garbs worn by the figures in early Renaissance frescoes. The artist later recalled: “Mental clarity, the purity of youth and its aspiration towards nobility and the sublime are exceedingly attractive. I unwittingly highlighted her wide-open gaze, harmonic and cheerful carriage, and readiness for action. I began to increasingly scrutinise and appraise the art of antiquity and the High Renaissance.”
Woman with Buckets
- 1928
- Canvas, tempera. 185 x 150
- The State Russian Museum
- Ж-10265
Сбор яблок
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-699
Стройка (Стройка совхоза)
- plywood, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-410
Эскиз плаката «Молодежь иди в соцсоревнование и ударничество»
- 1928
- Paper, , gouache. 43,6 x 30,2
- The State Russian Museum
- РС-6307
Weaving Shopfloor
- Canvas, oil, tempera.
- The State Russian Museum
- Ж-8149
The industrial theme was addressed by many Soviet artists in the late 1920s. Artists were dispatched to factories to acquire «knowledge of life» and better depict it in their works. Alexander Samokhavalov painted Weaving Shopfloor after visiting the town of Ivanovo, a leading Soviet centre of weaving. Samokhvalov was particularly impressed by the «bright-white architectonics of the weaving shopfloor.» He later recalled: «Two or three young weavers walked calmly among the looms, like nannies ... as if expressing their approval of their rollicking rhythms and correcting possible problems with the same human affection.» Samokhvalov’s weavers are typical representatives of the period. Unlike the heroines of his other works, they are not heroicised. The artist’s task was almost entirely painterly. The picture is based on two perspective directions, with theforeground resolved like a proscenium. The «screens» of the looms pull the viewer’s eye into the depths of the shop floor, where it encounters a worker in a striped sports shirt walking towards it. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 347.
Woman with a File
- 1929
- Canvas, oil. 107 х 70
- The State Russian Museum
- Ж-7564
Foundrymen
- Study
- Early 1930s
- Canvas, tempera. 108 x 146
- The State Russian Museum
- ЖС-2000
At the beginning of the 1930s, Osolodkov painted a few works on the theme of “Foundrymen”, as well as some figures of individual workers. In this painting the artist concentrates on the sanctity of the labour process, the ritualistic invocation of fire, and light effects. Judging from the guidelines drawn across it, it was ultimately intended for a wall, which fit the requirements of the times but was not actually executed by many.
Steelmaking
- 1930
- Canvas, oil. 143 x 176,5
- The State Russian Museum
- ЖБ-1830
This piece was painted during the artist’s trip to Dnepropetrovsk, at the Petrovsky Iron and Steel Works. “The huge metallurgic plant breathed steam, smoke, and fire,” the artist wrote in his diary in 1930. “Inside, on the shopfloors, I was able to observe a great deal, learn about the sequence of various work processes, and sketch figures in motion. One effect of light and colour followed another. One moment the human figures and mecha nisms, frames, braces, stacks, and cranes, were hidden by a veil of smoke, the next they were drowning in darkness, and then the molten metal lit up the room with an unbelievable light. The picture changed like a chameleon” (K. S. Kravchenko. A. V. Kuprin. Soviet Artist, Moscow, 1973, p. 202).
В модельном цехе
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2202
В начальной школе (Всеобуч)
- Canvas, oil.
- Самарский областной художественный музей
- Ж-2055
Откатчица
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1759
Постройка железной дороги
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-30
Comrade Stepanov
- Blacksmith at the Lenin’s Way Commune
- 1931
- Canvas, oil. 63 х 41
- The State Russian Museum
- ЖБ-1786
Portrait of Iosif Giryat, Shock Worker of the Karl Marx Factory
- 1931
- Canvas, oil. 96,5 х 79
- The State Russian Museum
- ЖС-1209
The artist’s inscription on the canvas and the stretcher: “Portrait of Iosif Ivanovich Giryat, blacksmith shock worker of the Karl Marx Factory” “painted by artist V. Zverev on the shopfloor”.
Shock Workers at the Red Dawn Factory
- 1931
- paper mounted on plywood, oil. 66,5 х 91,5
- The State Russian Museum
- Ж-9568
Бригада во время перерыва
- 1931
- Canvas, oil. 123 x 99
- The State Russian Museum
- ЖБ-1727
Днепрострой
- 1931–1932
- Canvas, oil. 49 × 111
- Донецкий республиканский художественный музей
- Ж-216
Ковровщицы
- 1931
- Canvas, oil. 83,5 х 88
- The State Russian Museum
- Ж-9076
Ковровщицы
- 1931
- Canvas, oil, tempera. 66 x 79
- The State Russian Museum
- Ж-9800
Портрет Прониной Пелагеи – премированной ударницы коммуны «Красивая Меча»
- 1931
- Canvas mounted on cardboard, oil. 55 х 39
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-691
Ремонт паровоза
- 1931
- Canvas, oil, tempera. 82,5 x 86
- The State Russian Museum
- Ж-9324
Сбор металлолома
- 1931
- Paper, chromolithography. 35,2 х 51,0
- The State Russian Museum
- Гр.Пл.-1978
Столяр
- 1921-1942
- Canvas, oil. 106,5 х 97
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Строительство в Армении
- 1931
- Canvas, oil. 97,4 х 142
- The State Russian Museum
- ЖБ-1181
Строительство в Армении
- 1931
- Canvas, oil. 132 х 161
- The State Russian Museum
- Ж-9077
Стройка СССР
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-65
Чеканщики
- Paper, , ink.
- Магнитогорская картинная галерея
- Г-586
В свиноводческом совхозе
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-319
Портрет тов. Слободчикова – инициатора Дня индустриализации СССР
- Canvas, oil.
- Смоленский государственный музей-заповедник
Portrait of the Blacksmith S. Petran
- 1934. Study. From the Baltic Factory series
- 1934–1935
- Canvas, oil. 98 x 69
- The State Russian Museum
- ЖБ-1464
Every Soviet painter was expected to paint a major picture extolling the successful building of Communism in Russia in the early 1930s. In 1934, the Leningrad City Council commissioned Israel Lizak to paint a large work on an industrial theme for the First Exhibition of Leningrad Artists. Working at the Baltic and Red Vyborzhets Factories, the artist painted the interiors of the shopfloor and portraits of shock workers — steel founders and blacksmiths. Although the picture was never painted, the many studies for it, including the portrait of the blacksmith Petran, can be regarded as finished works in their own right.
Portrait of the Steel Founder Andrei Krylov
- From the Baltic Factory series. 1934–1935
- 1934
- Canvas, oil. 98 х 69,5
- The State Russian Museum
- ЖБ-1463
As in similar studies, the typical and the individual interact in the portrait of Andrei Krylov, steel founder and shock worker of the Baltic Factory, forming an aggregate of such psychological attributes as purposefulness, discipline, and seriousness.
Метростроевка, несущая арматуру
- 1934
- Paper, watercolours. 45,3 x 28,1
- The State Russian Museum
- РС-1602
Первые строители
- Paper, ink.
- Магнитогорская картинная галерея
- Г-270
У бетоньерки
- 1934
- Paper, watercolours. 45,3 x 28,2
- The State Russian Museum
- РС-1603
У крана
- 1934
- Paper, watercolours. 45,1 x 28,2
- The State Russian Museum
- РС-1604
У лебедки
- 1934
- Paper, watercolours. 45,2 x 28,1
- The State Russian Museum
- РС-1601
Ударница на сенограбилке
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2156
Komsomol Members at the Joseph Stalin Plant
- 1935
- Canvas, oil. 203 x 144
- The State Russian Museum
- ЖБ-995
The industrial process can be depicted as the confrontation of technology and humanity, unveiling the cruelty of the mechanised world, its unnaturalness, and sometimes its monstrousness. But it also can be shown as an organic interconnectedness between humanity and a “second reality”. The flexible indissolubility of industry and man, in control of the most complicated machinery, is reflected in Chugunov’s monumental canvas Komsomol Members at the Joseph Stalin Plant, exhibited at the First Exhibition of Leningrad Artists (1935, Leningrad).
On the Threshing Floor. Threshing
- 1935
- Canvas, oil. 192,5 х 294
- The State Russian Museum
- ЖБ-985
Девушки-ковровщицы
- 1935
- Canvas, oil. 60 х 50
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-522
Ковровщицы
- 1935
- Canvas, oil. 60,5 х 51
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-512
Сбор хлопка
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-386
Колхоз в Армении
- 1936
- Canvas, oil. 127 x 100
- The State Russian Museum
- Ж-9071
Рабочий и колхозница
- Bronze.
- The State Russian Museum
- СО-724
Строительство школы
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1010
Female Metro Builder with a Drill
- 1937
- Canvas, oil. 205 х 130
- The State Russian Museum
- Ж-7565
Endowed with a sharp feeling of modernity, Alexander Samokhvalov aspired to be in the epicenter of life, discerning the romantic pathos of creation in the leading events of the day and age. Construction of an underground railway in the mid-1930s was an exciting new topic, discussed at length across the country and even lauded in popular songs. Samokhvalov long dreamt of depicting the female construction workers in a monumental mural. In 1937, he painted an oil painting on the basis of an earlier watercolour.
The large generalised planes and laconic tones help the artist to achieve a monumental plastic image. This fresco-like portrait exudes strength, clarity, beauty, mental and physical health, inspiration and aspiration. Alexander Deineka characterised the heroine of Underground Worker with a Drill as «like a goddess, yet nevertheless our own Russian gal.» Samokhvalov was clearly orientated on classical art. The worker’s athletic figure, posture, crossed legs and the drapery liken her to a Greek or Roman goddess. Working on his «underground workers» and focussing on frescoes, Samokhvalov passed through a period of interest in Michelangelo, whom he regarded as a «truly great revolutionary artist, whose works realized the ideal of democracy — the harmony of the power of the spirit and the power of the body.» The «new man» in the image of Soviet womanhood was a popular theme in the art of the 1930s. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 350.
Prospectors Writing a Letter to the Creator of the Great Constitution
- 1937
- Canvas, oil. 249 х 500
- The State Russian Museum
- Ж-5848
The painting was created for the Industry of Socialism exhibition, the main event in the USSR’s artistic life in 1939. Back in 1935 the party had set the goal of reflecting industrial achievements in fine artworks, stipulating that their main subjects should be “not machines but people educated by the party of Lenin and Stalin to master technology and place machines at the service of socialism”. A “thematic exhibition plan” was published, i. e. strict instructions for artists regarding desired subjects and their permissible interpretation. Among them were five themes connected with Lenin, ten with Stalin and two with Ordzhonikidze. In addition, artists were given specifically formulated tasks to depict the country’s newly-transformed cities and regions, the might of the Red Army’s heavy armaments, the power of Soviet metallurgy and so forth. Vasily Yakovlev was requested to take up the gold prospecting theme and go the Urals to study it. In the Valeryanovsky gold fields in Sverdlovsk Region the artist found the prototype for his composition, which shows a picturesque group of prospectors under the rays of the blinding sun engaged in an animated debate over a letter to Joseph Stalin they’re writing in response to the leader’s appeal to fulfill a gold production plan. The composition is marked by the distinct documentary verisimilitude that typifies Socialist Realist art as a whole. At the same time, the event’s romantic and high-spirited atmosphere fulfils a propagandistic role. Yet hidden behind the mythologized sense of workers’ enthusiasm masterfully created by this major artist lies the back-breaking reality of the gold miners’ labour.
Worker and Collective Farm Woman
- Model for the sculptural group in the Soviet Pavilion at the World Exhibition in Paris. Cast in 1965
- 1937
- Bronze. 84,5 x 43 x 57
- The State Russian Museum
- СО-797
Метростроевка у бетоньерки
- Canvas, oil, tempera.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-261
Рыбацкий колхоз на реке Шексне
- Canvas, oil.
- Ярославский художественный музей
- Ж-251
Электросварщицы Сормова
- Canvas, oil.
- Ярославский художественный музей
- Ж-237
Красное Сормово
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-134
Наступление начинается здесь
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-140
Юноши и девушки города Ленина, самоотверженно трудитесь на помощь фронту!
- Paper, .
- The State Russian Museum
- Гр.Пл.-643
Портрет Вани Курочкина, рабочего Ярославского автозавода
- Canvas, oil.
- Ярославский художественный музей
- Ж-455
Трудовые резервы
- 1947
- Bronze.
- The State Russian Museum
- СО-107
M. G. Gusarov, Distinguished Steel Founder of the Hammer and Sickle Factory, with His Brigade
- From a series of portraits painted at the Hammer and Sickle Factory, for which the author received a Stalin Prize of the 3rd degree in 1949
- 1949
- Canvas, oil. 200 х 200
- The State Russian Museum
- Ж-6068
Portrait of Steel Founder Fyodor Konovalov
- 1949
- Canvas, oil. 124 х 97,5
- The State Russian Museum
- Ж-2415
Fyodor Ilyich Konovalov (1909–?): Steelmaker at the Kirov Factory in Leningrad, shock worker (Stakhanovite). This portrait is not the only work by Joseph Serebryany devoted to what was to come to be known as the “industrial theme”. Although depicting the commonplace, the artist always succeeds in bringing out the personality of his sitter.
Portrait of the Engine Driver Pavel Fyodorov
- 1949
- Canvas, oil. 106 х 92
- The State Russian Museum
- Ж-2416
Pavel Apollonovich Fyodorov was a senior locomotive engineer for October Railways, who during the blockade of Leningrad worked on the “Road of Life”, the sole, narrow path across Lake Ladoga along which travelled vehicles delivering provisions to the city. Fyodorov was the foreman of the first train sent from besieged Leningrad to the “Big Land” after the blockade was broken.
Агрокружок в колхозе
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 652-ж
Богатырь леса. Портрет знатного лесоруба А. П. Готчиева
- 1949
- Canvas, oil. 154 х 208,5
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-69
На приволье (Животноводство в Сибири)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2201
У токарного станка
- 1949
- .
- The State Russian Museum
- С.Гр.-3080
У фрезерного станка
- 1949
- .
- The State Russian Museum
- С.Гр.-3081
In the Peaceful Fields
- 1950
- Canvas, oil. 200 x 400
- The State Russian Museum
- Ж-6070
There Will Be a Park Here
- 1950
- plywood, oil. 77 x 54
- The State Russian Museum
- Ж-10787
Moscow appears in the works of Yury Pimenov as a modern city undergoing renewal on a daily basis. In 1950 a major reconstruction effort was begun at the All-Union Agricultural Exhibition (VSKhV, later VDNKh). This enormous exhibition and park complex occupies more than three hundred hectares in the capital’s northeastern region. Towering over the rapidly progressing construction work in Pimenov’s study is Vera Mukhina’s celebrated sculpture Worker and Collective Farm Woman. In 1937 the sculpture had crowned the USSR Pavilion at the World Exhibition in Paris, after which it was returned to Moscow and installed at the entrance of VSKhV.
Мастера труда
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-573
Субботник по заготовке дров в Егорьевске
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 318
Витя-подпасок
- 1951
- Canvas, oil.
- The State Russian Museum
- Ж-5957
Доярка Нина Болотина
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-278
После трудового дня
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2114
На колхозной птицеферме
- 1952
- Canvas, oil. 120 х 200
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
На полях Киргизии
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 1577-626ж
Портрет кузнеца ТВРЗ Д. Эктова
- Canvas, oil.
- Тамбовский областной краеведческий музей
- КП №8456
Молодой шахтёр
- Paper, .
- Художественный музей «Арт-Донбасс», Донецк
Ремонт сельхозинвентаря
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 304
Хлебоуборка в Хакасии
- 1950s
- Canvas, oil. 90 х 150
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-4918/17
Первая плавка чугуна на Череповецком металлургическом заводе 24 августа 1955 г.
- Canvas, oil.
- Череповецкое музейное объединение
- ЧерМО-2928
Плавка выдана
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-111
Полдень
- 1956
- Canvas, oil. 120 х 172,5
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Уборка урожая в колхозе им. Сталина Череповецкого района
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-628
Богатыри Донбасса
- Canvas, oil.
- Луганский художественный музей
На стройке
- Canvas, oil.
- Симферопольский художественный музей
- Ж-635
Портрет новатора производства завода Ростсельмаш Колесникова
- 1957
- Canvas, oil. 105 х 80
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Female Builder
- 1958
- Forged copper, wood. 120 x 66 x 52; base: 12 x 55 x 60
- The State Russian Museum
- СО-861
Female Builder belongs to the early period of Nina Zhilinskaya’s oeuvre. This is one of the rare works in the museum collection reflecting the principles of the “severe style”. The sculpture is distinguished by the antiheroic nature of its subject, a terseness and laconism of language and generalization of form. At the same time, its use of the expressive potential of its material, hammered copper, and its powerfully decorative character point towards the future evolutionary path of Zhilinskaya’s art, which would embody neo-Baroque principles in Moscow sculpture.
Road builders
- 1958
- Canvas, oil. 114 х 206
- Калининградский музей изобразительных искусств
- Ж-421
Будни Сталинградской ГЭС
- Canvas, tempera.
- Самарский областной художественный музей
- Ж-1034
Лето. 1959 год. Город Куйбышев
- Canvas, tempera.
- Самарский областной художественный музей
- Ж-1127
На запани
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-788 АОМИИ
На мирной земле
- 1959-1960
- Canvas, oil. 240 х 225
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
In the Field
- 1958–1960
- Canvas, oil. 170 x 306
- The State Russian Museum
- Ж-7691
Казахстанский мартеновский цех
- 1960
- Canvas, oil. 78 х 100
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 1339
На трудовой вахте
- Paper, .
- Череповецкое музейное объединение
- Гр-832
Оператор
- Paper, .
- Череповецкое музейное объединение
- Гр-833
Ударная стройка (Закладка фундамента доменной печи)
- Paper, .
- Череповецкое музейное объединение
- Гр-835
Шахтёр
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-423
Весенняя путина
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-808
Мост строится
- Cardboard, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2082 АОМИИ
Над Волгой
- Canvas, tempera, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-117
Сахалинрыбпром
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж/дв-1160
Лесорубы из Эргли
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-886
Беление холстов
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-371
Вобла
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-894
Кузнецы пятилетки
- 1967–1968
- Canvas, oil. 206 × 225
- Донецкий республиканский художественный музей
- Ж-1003
Куйбышевская ГЭС
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1270 АОМИИ
Монтажники Нурека
- Canvas, oil.
- Национальный музей Таджикистана, Душанбе
- Ж 930
Foundry Women
- Maquettes for Monument to the Heroic Defenders of Leningrad, erected in 1975 on Victory Square
- 1968
- tin. 22 x 23 x 9
- The State Russian Museum
- СО-1574
Дождь
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 5482-1781ж
Год 30-й. На стройке
- Cardboard, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-253
На шахтном дворе
- 1969
- Canvas, oil. 240 х 299
- The State Russian Museum
- Ж-8993
Обед строителям
- Paper, lithography.
- Череповецкое музейное объединение
- ЧерМО-5668/1
Свет в деревню
- .
- Ирбитский государственный музей изобразительных искусств
- Г-9605
Черное золото
- 1969
- Canvas, oil. 200 х 245
- The State Russian Museum
- Ж-10312
Портрет молодого повара
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-1051
«Серп и Молот» (Вальцовщики)
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-129
В цехе автозавода имени Лихачева. Литейщики
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-127
На уборке табака
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 2487-ж
Будни ЛДК
- Canvas, oil.
- Национальная галерея Республики Коми, Сыктывкар
- Ж633
Добытчики рыбы
- Paper, .
- Музейно-выставочный центр (г. Когалым)
- ОФ-89
Механизаторы
- Paper, etching.
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- ИЗО 728
На току
- Paper, etching.
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- ИЗО 727
Строительство моста
- 1974
- Paper, .
- The State Russian Museum
- С.Гр.-16719
Табунщики
- Paper, etching.
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- ИЗО 729
Щедрая осень
- Cardboard, oil.
- Сахалинский областной художественный музей
- Ж-552
Автопортрет. (Трудовые будни)
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2595
Газ Севера
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж-391
На конвейере
- Paper, etching.
- Музейно-выставочный центр (г. Когалым)
- ОФ-81
Сборщики
- 1975
- Canvas, oil. 120 х 120
- The State Russian Museum
- Ж-10680
Смена идет
- 1975
- Paper, .
- The State Russian Museum
- С.Гр.-17057
На сплаве
- Canvas, oil.
- Национальная галерея Республики Коми, Сыктывкар
- Ж1690
Перекрытие Енисея в Саянах
- Canvas, oil.
- Красноярский художественный музей имени В. И. Сурикова
- Ж 845
Ночная вахта
- Paper, .
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ЯНМ-1137/1
Рабочий день на БАМе
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-719
Страда
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-760
Урожай
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 7210-2057ж
Вольск индустриальный
- Canvas, oil.
- Вольский краеведческий музей
- ВКМ 13808
Трудовые будни
- Canvas, oil. 150 х 121
- Вольский краеведческий музей
- ВКМ 11999
Бригада Л.П. Балахоновой, Лауреат премии Комсомола Мордовии
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж 1451
В страдную пору. Жатва окончена
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-134
Судоверфь имени Парижской Коммуны
- Canvas, oil.
- Ярославский художественный музей
- Ж-1960
Уралмаш. Работает бригада Л. Н. Гречихина
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-132
Новостройка Хакасии – ТЭЦ
- 1980
- Canvas, oil. 70 х 110
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5130/23
Поднимем из руин наш родной Зугрэс!
- Paper, etching.
- Художественный музей «Арт-Донбасс», Донецк
Докеры Находки
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-766
Печь
- Paper, .
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- 202 ИЗО
Термическая обработка
- Paper, .
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- 203 ИЗО
Возрождение Сталинграда
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-1318
Девушка хлебороб
- Cardboard, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-1194
Сварщики
- .
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- Инв. №9712-522-с
Здравствуй, Волга
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-287
Земля
- Casting.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- С-114
Свидетельница веков
- 1985
- Canvas, oil. 150 х 200
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 283
В засолочной
- Cardboard, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-2047
Рельеф «Слава труду»
- Porcelain, .
- Егорьевский историко-художественный музей
- КС. 1423
Рельеф «Слава труду»
- Porcelain, .
- Егорьевский историко-художественный музей
- КС. 1424
Варення Николай Романович
Акылбеков Сабырбек Мамбетсадыкович
Калинин Александр Фёдорович
Буров Сергей Павлович
Ларькин Михаил Дмитриевич
Яблонская Татьяна Ниловна
Карташёв Олег Николаевич
Гончаренко Вениамин Алексеевич
Титов Константин Александрович
ШИРЯЕВ Дмитрий Кузьмич
Андронов Николай Иванович
Беднов Виктор Андреевич
Жердзицкий Евгений Федорович
Пономарев Андрей Михайлович
Anikushin Mikhail Konstantinovich
1917 – 1997Игнатьев Александр Илларионович
Киприн Спартак Семенович
Козлов Энгельс Васильевич
Окороков Борис Владимирович
OSSOVSKY Pyotr
1925 – 2015Пушкарев Иван Захарович
Гурвич Иосиф Михайлович
Пархунов Борис Викторович
Сыдыханов Абдрашит Аронович
Вдовин Федор Федорович
Вильнер Виктор Семенович
Куанов Аслан Махмудович
Куксов Степан Тарасович
Герасимов Михаил Михайлович
Крестовский Ярослав Игоревич
Лисенков Валентин Александрович
Копотин Анатолий Васильевич
Засекин Генрих Прокопьевич
Осмонов Абдырай (Абдрай) Осмонович
Снытко Владимир Антонович
Савельев Николай Васильевич
Бернгард Олег Эдгардович
Зейналов Мирнадир (Мир Надир) Мирали (Мир Али) оглы
Шадрин Александр Павлович
Шадрин Владимир Павлович
Домненко Григорий Аврамович
Новосёлов Василий Михайлович
Резниченко Юрий Александрович
Семенкин Николай Иванович
Денисов Александр Александрович
Жолчуев Дуйшон
Бутов Алексей Иванович
Ширнин Анатолий Александрович
Волков Николай Данилович
Мастерская Клименкова
Физкультурные игры на стадионе
- 1927
- Canvas, oil. 166 x 249
- The State Russian Museum
- ЖС-93
Физкультурница
- 1929
- Canvas, oil. 82,5 х 63,5
- The State Russian Museum
- Ж-6379
Лыжная вылазка
- 1930
- Paper, chromolithography. 37,2 х 52,0
- The State Russian Museum
- Гр.Пл.-1975
Спорт
- paper mounted on plywood, oil, .
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-175
На стадионе
- 1931
- Paper, watercolours. 43,8 x 63,5
- The State Russian Museum
- РС-1608
Girl in a Sports Shirt
- 1932
- Canvas, oil. 102 x 64
- The State Russian Museum
- Ж-4419
Girl in a Sports Shirt won a gold medal at the World Fair in Paris in 1937. One of the most famous works of Soviet art, it was regarded as a landmark in the artist’s oeuvre. Alexander Samokhvalov recalled: «It was a special joy to paint images of my contemporaries in those years.» The painting was acclaimed by fellow artists and critics alike, while the heroine was hailed as a «Soviet Mona Lisa» at the Exposition Universelle. The artist depicts Yevgenia Adamova, a teacher and activist who retained her freshness and vitality all her life. She is a typical Soviet citizen of the 1930s — spontaneous, enthusiastic and purposeful. Samokhvalov confirms his ideal of a simple beauty not only in his model, but also in the painting — austere, laconic and elegant.
The clear architectonics of the composition, broad painting, frescolike texture and dynamic image contain features of monumentality. Girl in a Sports Shirt embodies the artist’s concept of the era and «a remarkable contemporary, the sort of girl who did not exist before.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 347.
Лыжница
- Canvas, oil.
- Луганский художественный музей
Girl with a Ball
- 1933
- Canvas, oil. 55 х 46,5
- The State Russian Museum
- Ж-9187
Like many of Samokhvalov’s paintings, this intimate work creates the impression of a lost fresco fragment. The artist was convinced that modern life should be depicted in monumental forms, and took inspiration from the art of Antiquity, the Renaissance and Ancient Rus. He strove to embed the depicted moment into historical perspective, to underline its significance, to shroud it in a romantic aura. His models were for the most part young people, the embodiment of a splendid utopian future which they were called upon to create and inhabit. In the role of a dreamy young athlete Samokhvalov depicted his eldest daughter Maria.
Race
- Variant of the painting of the same name (1930, Galleria d’Arte Moderna di Ca’Pesaro, Venice)
- 1932–1933
- Canvas, oil. 229 х 259
- The State Russian Museum
- Ж-7741
The art of Alexander Deineka reflects the aspiration towards new forms of public life — labour, industry, sport, and images of the new citizen. Race contains all the main formal features of Alexander Deineka’s style — a montage-rhythmic structure of the composition, laconic tones, and an austere and graphic style of painting. Race combines concrete elements, generalisation, symbols, images, the spirit of romanticism, and notes of lyricism. Man personifies the motif of freedom and resolute integrity.
Чернильница с крышкой «Физкультурницы»
- 1933-1934
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-141/а,б
At the Stadium
- 1934–1935
- Canvas, oil. 121 х 140,5
- The State Russian Museum
- ЖБ-1723
Sport was one of the most popular themes in Soviet art in the mid-1920s and 1930s. Called upon to form the ideal of the new man, artists discerned its prototype in athletes — handsome young men and women perfecting their bodies and hardening the spirit. Sportsmen became the main characters of the works of Alexander Samokhvalov, who dreamt of uniting them in a grandiose monumental composition. Perhaps that is why so many of his paintings of this period are like details of a large, multi-figure fresco. The artist himself described sport as an “existential joy” helping people overcome difficulties “in the struggle for the creation of a new life” and furthering their “love for humankind”. “I loved sport as the culture of healthy, vivacious and joyful people… I was attracted to the healthy creative spirit in healthy bodies,” he wrote.
Советская физкультура
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-683
Kavgolovo Ski Jump
- 1936
- Canvas, oil. 120 x 90
- The State Russian Museum
- ЖС-1851
The Toksovo-Kavgolovo district near Petersburg (Leningrad) is the true ski center of the Karelian Isthmus. A great number of sporting facilities are located here, including the famous Kavgolovo Ski Jumps and many international-class ski trails. A natural slope around 40 to 50 meters high and extending for several kilometers forms the basis for the downhill ski trails. This is a very small slope by European standards, but thousands of Leningraders of all ages learned and perfected the basics of alpine skiing on it, some achieving the heights of mastery.
Водная станция
- Canvas, oil.
- Ярославский художественный музей
- Ж-2062
Лыжники
- Paper, etching.
- Нижнетагильский музей изобразительных искусств
- Г-101
Физкультурный парад
- 1939
- Canvas, oil.
- The State Russian Museum
- Ж-6804
Expanse
- 1944
- Canvas, oil. 204 x 300
- The State Russian Museum
- Ж-4500
In the last year of the war, happy colours appeared in Deineka’s austere palette. In the summer of 1944, he finished the large painting Expanse, which he began before the war. The resulting painting is perceived as a joyful hymn to peaceful life against a backdrop of the vast expanses of his native land.
Лыжная прогулка
- 1948
- Canvas, oil. 160 х 200
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Суворовцы на лыжах
- .
- The State Russian Museum
- С.Гр.-16133
Хоккей на стадионе «Динамо»
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
На катке
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-497
Высокогорный каток Медео
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-909
На высокогорном катке
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-812
Лыжники
- 1956
- Paper, lithography.
- The State Russian Museum
- С.Гр.-9229
Стадион в Егорьевске
- Oil, canvas.
- Егорьевский историко-художественный музей
- Ж 505
Хоккей
- 1961
- Canvas, oil. 136,0 x 139,0
- Мурманский областной художественный музей
- Ж-235
Гимнастика
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-1284
Gymnasts of the USSR
- 1964–1965
- Hardboard, gesso, tempera. 270 x 215
- The State Russian Museum
- Ж-8816
Dmitry Zhilinsky often manifested his creative aspirations in portraiture. One of the idiosyncrasies of his art was his habit of depicting in the concrete not the fleeting, but the most important element of a man’s personality. Zhilinsky preferred clear, collected and intellectual images. He was inspired by the art of the Old Masters, particularly the early Italian Renaissance and Old Russian painting. The artist openly addresses the art of the past in his modem images: «l love exactness of expression and completeness of form – in my own understanding of these words, of course». Zhilinsky’s works are distinguished by their pure and decorative tones, melodious lines, plastic silhouettes and harmonic compositions. The artist’s painting technique was also unusual; he frequently worked in tempera on Ievkas, lending a colourist sublimity to his works. «Gymnasts of the USSR» is, in essence, a group portrait of famous Soviet sportsmen, many of them world and Olympic champions. Among the figures in the background are Polina Astakhova (triple Olympic and twice world champion), Boris Shakhlin (triple Olympic and twice world champion) and Yury Titov (Olympic and world champion, later president of the International Federation of Gymnasts). An original personal «tuning» of thought, will and feelings can be seen in the heroes’ faces and expressive gestures. The distinct composition, sharp foreshortenings and pure tones are also psychological.
Девушка с цветком
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-3263
Заслуженный тренер СССР Д. П. Коркин с учениками
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1279
Возле старых сараев
- 1975
- Canvas, oil. 140 x 150
- The State Russian Museum
- Ж-9347
Портрет спортсмена Хамслова
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-85
В. И. Постоянов – заслуженный мастер спорта
- 1978-1979
- Tempera, lacquer. 100 х 142
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-599
Soviet sport. Marathon
- 1979
- Canvas, oil. 175 х 181
- Калининградский музей изобразительных искусств
- Ж-2570
Вратари советского хоккея (Н. Пучков, В. Третьяк и В. Коноваленко)
- Canvas, tempera.
- Ярославский художественный музей
- Ж-1881
Прыжки с трамплина на приз газеты «Советский Сахалин»
- Cardboard, oil.
- Сахалинский областной художественный музей
- Ж-583
Воскресный день в горах Алатау
- 1982
- Canvas, oil. 200 х 160
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 307
Наш тренер
- Canvas, oil.
- Симферопольский художественный музей
- Ж-1140
Теннисный корт
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-1931
Кузнецов Борис Андреевич
Sidorov, Valentin Mikhailovich
Born 1928, Sorokopenie, Tver GuberniaPainter, teacher. Studied at an art studio of the Moscow Palace of Pioneers (1940–1942), Moscow Secondary School of Art (1943–1948), Ilya Repin Institute of Painting, Sculpture and Architecture (1948–1952) and the Vasily Surikov Institute of Art in Moscow (1952–1954). Contributed to exhibition (from 1951). Taught at the Vasily Surikov Institute of Art in Moscow (from 1996). Professor (1996). People’s Artist of the USSR (1988). Winner of the Ilya Repin State Prize (1974), State Prize of the USSR (1984), State Prize of Russia (1997). Awarded a silver medal of the Academy of Arts of the USSR (1972), gold medal of the Academy of Arts of Russia (1996), Order "For Merits for the Fatherland" Grade III (2008) and Grade IV (2003).
Зариньш Индулис Августович
Людвик Валентин Григорьевич
Шарденов Жанатай
Гурин Василий Иванович
Мыльникова Вера Андреевна
First Appearance of Vladimir Lenin at the Petrosovet Meeting at Smolny on 25 October 1917
- 1927
- Canvas, oil. 132 x 191
- The State Russian Museum
- ЖС-1981
The painting was created for the 10th anniversary of the October Revolution. On the rostrum is Vladimir Lenin, on the dais his comrades-in-arms: Vladimir Antonov-Ovseyenko, Lev Ka me - nev, Vladimir Milyutin, Nikolai Podvoisky, Leon Trotsky, Georgy Oppokov (Lomov), Alexei Rykov and Lev Karakhan. Painted after Lenin’s death in 1924, the work was devoted to the theme of his popularity among the revolutionary-minded public.
Днепрострой
- 1931–1932
- Canvas, oil. 49 × 111
- Донецкий республиканский художественный музей
- Ж-216
Предметы из чайного сервиза «Поход Челюскина»
- 1934
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-284-289
Переход Красной армии через Сиваш
- Canvas, oil.
- Симферопольский художественный музей
- Ж-492
Принятие декрета о создании Рабоче-крестьянской Красной Армии
- 1935
- Canvas, oil. 256,5 х 390
- The State Russian Museum
- Жб-1987
Vladimir Lenin at the Second Congress of Soviets Among Peasant Delegates
- 1935–1936
- Canvas, oil. 236 х 186
- The State Russian Museum
- Ж-6149
Gerasimov’s painting depicts the historical congress that ratified the Decrees on Peace and Land and proclaimed the transfer of all power in the country to the Soviets of Workers’ and Peasants’ Deputies. Lenin talks with the delegates about the transfer of landed estates to the peasantry. The event’s significance is expressed by the deep seriousness with which the peasants hearken to Lenin’s words. The muted colours of the sheepskin coats, soldiers’ overcoats and sailors’ pea jackets resonate with a unique virile harmony in the Smolny Institute’s enormous bright assembly hall.
Leader, Teacher and Friend (Joseph Stalin at the Presidium of the Second Congress of Collective Farm Shock Workers in February 1935)
- 1936–1937
- Canvas, oil. 340 x 260
- The State Russian Museum
- Ж-5613
The painting was exhibited for the first time at the grandiose Industry of Socialism exhibition held concurrently with the 18th Bolshevik Party Congress. The event it depicts is the Second Congress of Collective Farm Shock Workers of February 1935, which ratified the Rules of the Agricultural Artel and proclaimed “socialism’s complete victory in the countryside”. The artist depicted a real episode that took place at that congress, as reported by the press: Stalin visits as one among equals with ordinary collective farm worker Ev do kia Fedotova, head of the machine and tractor station at the Renewal Collective Farm in Lenin grad Region. Fedotova, also immortalized in a portrait by Sofya Dymshits-Tolstaya (illus. 14), chaired the session on that day. On the rostrum is the cotton shock worker Tashlanova from Uzbekistan. Her figure in colourful national attire, along with those of a young Turkmen woman in a white scarf and Uzbek party leader Aga Yusup Aliev, which frame the composition, are the artist’s tribute to a favourite theme: Shegal worked much and with great enthusiasm during field trips to the Soviet Union’s Central Asian republics, and in this way he enriched his painting’s subject with the theme of friendship among nations. The prominence of female images in the work is also no accident, as female agricultural shock workers made up a record number of the congress’ delegates. Thus the artist documents the country’s progress on the path to women’s equality. Critics noted a certain monotony in the treatment of the composition’s upper region, which is occupied by a flat wall. Yet it is here that we find a sculptural image of Vladimir Lenin looming over the events occurring below. This element of the hall’s interior allowed the artist to denote the Soviet state founder’s unseen presence at the congress using realistic means. Lenin’s dominant place in this large-scale painting prompted contemporaries to speculate on the distribution of roles in the triune formula “Leader".
Artists of the Konstantin Stanislavsky Theatre Meeting Students of the Nikolai Zhukovsky Air Force Academy
- 1938
- Canvas, oil. 297,5 x 375,5
- The State Russian Museum
- Ж-5602
The canvas was painted by Efanov for the exhibition 20 Years of the Workers’ and Peasants’ Red Army and Navy and then displayed at the New York World Exhibition in 1939. Among the depicted guests are many well-known performing artists of the day in addition to aviators and Konstantin Stanislavsky himself. The appearance in Efanov’s oeuvre of a group portrait of stage performers is no accident: the artist was an actor and lifelong theatregoer himself, and his wife was an actress at the Stanislavsky Theatre. And though Efanov abandoned the stage in the mid-1930s, the theatre remained dear to him. The event portrayed in the painting took place on 22 December 1935 in Stanislavsky’s apartment studio. The artist began work on the canvas in 1937, finishing it a year later, after the great di rector’s death. Depicted in the composition are thirty-eight people, all painted by the artist from life. In his autobiography Efanov recalls: “I painted the performers and aviators directly from life. They posed for long stretches at a time, sometimes at night. All the painting’s details — the still life on the table, the chairs and the enormous carpet — were also painted from life.” Efanov also met with Stanislavsky numerous times, studying his character, bearing and gestures and making many sketches and studies. The multi-figure composition is masterfully arranged and the interior and festive still life on the table painted freely and broadly, without distracting attention from the scene’s main action. The composition’s semantic focus is the director’s standing figure, towards which all present are turned. The theatre headed by Stanislavsky and bearing his name enjoyed sponsorship over the Nikolai Zhukovsky Air Force Academy, whose members are also present in the scene, demonstrating the mutual relations between different social strata. In full accord with the ideological demands of its time, the painting was intended to illustrate the idea of the beauty and dignity of the era’s new people and underscore the notion that true social unity was possible only within a socialist society.
Появление В. И. Ленина на II Всероссийском съезде Советов
- 1940
- Canvas, oil. 385 х 355
- The State Russian Museum
- Жб-1947
Defence of Sebastopole
- 1942
- Canvas, oil. 200 x 400
- The State Russian Museum
- ЖБ-954
The picture was painted in 1942, during the height of the Second World War. The artist wrote: «I was in the war and saw the battles and many grave and heroic episodes. For some reason, I decided to paint Defence of Sebastopole, although I did not see the resistance of the city; I only heard the tales about the defence. Why did I paint this work? I love Sebastopole, a town I often visited before the war, on ships and cruisers … When I saw photographs of the ruined town, I realized that I had to paint this picture. When I was working on it, I experienced everything for real and put my whole heart into it.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 355.
Прорыв блокады
- 1943
- Canvas, oil. 299 х 464
- The State Russian Museum
- Ж-5563
At the Crimea Conference
- 1945
- Canvas, oil. 74,5 x 120
- The State Russian Museum
- Ж-5962
The meeting between the leaders of the three great powers — Britain, the USSR and the USA — that took place on 4–11 February 1945 at the Livadia Palace in Yalta, otherwise known as the Crimean Conference. When it was held, fighting was already underway within Germany, and the matter of postwar restructuring was one of the items on the agenda. The three countries were represented by Chairman of the Council of People’s Commissars of the USSR Joseph Stalin, British Prime Minister Winston Churchill, and US President Franklin D. Roosevelt.
Крымская конференция / На Крымской конференции руководителей трех великих держав
- Bronze.
- The State Russian Museum
- СО/ПФ-69
Парад Победы
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2532 АОМИИ
For the Happiness of the People (Session of the Politburo of the Central Committee of the All-Union Communist Party (Bolsheviks))
- 1949
- Canvas, oil. 280 х 380
- The State Russian Museum
- Ж-4408
Painted in celebration of Stalin’s 70th birthday in 1949, this work was shown at two major exhibitions: the All-Union Exhibition of Art and Joseph Vissarionovich Stalin in the Fine Arts. However, the character of the leader’s portrayal departs fundamentally from that of other formal paintings of the time. The dictator is shown with other members of the Politburo — Vyacheslav Molotov, Nikolai Shvernik, Nikolai Bulganin, Anastas Mikoyan, Nikita Khrushchev, Andrei Andreyev, Alexei Kosygin, Kliment Voroshilov, Georgy Malenkov and Lazar Kaganovich — discussing the planting of future forests “for the happiness of the people”. Although dressed in a marshal’s uniform with the star of a Hero of the Soviet Union, Stalin is intended to look like a simple and accessible man of the people. Stalin’s “simplicity” was also a principal and important element in the formation of his iconography. Although the Communist Party laid down specific guidelines regarding the ideological content of works of art, Soviet painters also learnt to adapt themselves to political changes. After the rejection of Stalin’s cult of personality and the death of Lavrenty Beria, Dmitry Nalbandyan painted over the latter’s figure, forming a logical compositional break between Andreyev and Kosygin.
Артём в Донбассе
- Canvas, oil.
- Луганский художественный музей
Письмо колхозников-животноводов
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 2194-ж
In the Name of Peace (The Signing of the Treaty of Friendship, Union and Mutual Assistance Between the Soviet Union and the People’s Republic of China)
- 1950
- Canvas, oil. 271 x 400
- The State Russian Museum
- Ж-5952
The Soviet Union was the first country to establish official diplomatic ties with the newly-proclaimed People’s Republic of China in 1949. In Moscow on 14 February 1950, the USSR and the People’s Republic of China signed a 30-year contract on friendship, union and mutual assistance. Showing unprecedented loyalty to China and ceding many of the USSR’s claims in Chinese territory, Stalin was acting in the strategic interests of strengthening the USSR’s “everlasting and indestructible friendship” with its far-eastern neighbour. Depicted in the painting are Soviet and Chinese public figures including Guo Moruo, Mao Zedong and Zhou Enlai.
И. В. Сталин на крейсере «Молотов»
- Canvas, oil.
- Луганский художественный музей
Молотов в Якутске
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-338
Подписание Декрета об образовании Татарской АССР
- Oil, canvas.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1661
Session of the Presidium of the Academy of Sciences of the USSR
- 1951
- Canvas, oil. 399 x 585.5
- The State Russian Museum
- Ж-5955
The mural was created by a group of artists led by Vasily Efanov. Efanov enlisted the group, which painted around two hundred studies in all for the canvas. Many of the composition’s individual portrait studies of academicians became significant works in their own right. They were exhibited alongside the larger painting at the All-Union Art Exhibition in Moscow in 1952. The canvas depicts a session of the Presidium of the USSR Academy of Sciences discussing construction plans for the Main Turkmen Canal. The photographic authenticity with which the work documents the event doesn’t detract from its virtues as a formal group portrait painted in the best traditions of the realistic school. The artists’ collective was awarded a 3rd-degree Stalin Prize for the main canvas and individual portraits.
Выступление новатора И. Т. Валигуры на учёном совете
- Canvas, oil.
- Луганский художественный музей
Выступление М.В. Фрунзе перед ополченцами в Самарканде
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 834-ж
Пробуждение (За мир и независимость)
- 1957
- Canvas, oil. 300 х 280
- The State Russian Museum
- Ж-7566
23 января 1924. Горки
- 1964
- Canvas, oil. 315 х 224
- The State Russian Museum
- Ж-8289
Солдаты революции
- 1964–1965
- Canvas, oil. 291 х 592
- The State Russian Museum
- Ж-8134
Accusation. The Nuremberg Trials
- 1967
- Canvas, oil. 270 x 308
- The State Russian Museum
- Ж-8928
Возвращение. Посадка «Восхода-2» на Урале
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-103
Декрет о земле
- Canvas, oil.
- Национальный музей Таджикистана, Душанбе
- Ж 1169
Свет в деревню
- .
- Ирбитский государственный музей изобразительных искусств
- Г-9605
Доверие. Прием в коммунисты в партизанском крае
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-175
Конец колчаковщины
- Canvas, oil.
- Красноярский художественный музей имени В. И. Сурикова
- Ж-1060
Первомайская демонстрация
- Paper, pastel.
- Художественный музей «Арт-Донбасс», Донецк
Провозглашение Марийской Автономной области
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-164
Декрет о земле
- Canvas, oil.
- Национальный музей Таджикистана, Душанбе
- Ж 2029
Спасибо, Москва!
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-2113
Холуев Владимир Федорович
Хайдаров Ашур Карабаевич
Литвинов Вячеслав Александрович
Знак Анатолий Маркович
Поляков Алексей Иванович
Курочкин Владимир Демидович
Никитин Николай Никанорович
Полозов Александр Федорович
Festivities in Honour of the Second Comintern Congress on 19 July 1920. Demonstration on Uritsky Square (now Palace Square)
- Canvas, oil.
- The State Russian Museum
- Ж-6148
The Comintern or the Communist International was the international organisation founded to advocate the world communist movement. The Second Congress of the Comintern started working in St. Petersburg on 19 July 1920. The delegated from 25 countries took part in the Congress. Isaac Brodsky engaged Boris Kustodiev, one of the greatest artists of the World of Art union, to produce a painting devoted to one of the important events of post-revolutionary time.
Using peculiar to him decorative manner and carefulness in depiction of people’s types the artist represented the atmosphere of the celebration of the representatives of different nations who had come to the Congress. Being disabled because of the illness the artist had to travel by car of the PetroSovet round the city exploring the signs of the new city life that were unusual for him, made sketches and immersed in the atmosphere of the celebration. All these observations resulted in a free composition in which red colour different in tones dominated. The different tones of red along with depiction of the crowd in general and individual figures expressed the idea of celebration. “You should have waited for such street”, - the artist recollected. He was sure that “the painting must be the document of our descendants”.
Rural Gathering
- 1927
- Papier-mâche, tempera, gold, lacquer, painting. 12,5 х 18,5 х 0,8
- The State Russian Museum
- ОНИ/Р-1791
Праздник 1 Мая у оседлых ненцев
- Canvas, oil.
- Национальная галерея Республики Коми, Сыктывкар
- Ж205
Parade
- 1930
- Canvas, oil. 88 х 61
- The State Russian Museum
- Ж-4378
In the 1920s and 1930s, historical and revolutionary themes became decisive in Isaac Brodsky oeuvre. He painted portraits of the leaders of the Soviet state, pictures depicting events of the Bolshevik Revolution and Civil War, and scenes of festivities in a strictly academic manner, attempting to achieve the greatest visual authenticity.
Встречают челюскинцев
- 1934
- sanguine.
- The State Russian Museum
- РС-586
Юным ленинцам большевистский привет
- 1934
- Paper, chromolithography. 69,9 х 96,2
- The State Russian Museum
- Гр.Пл.-661
All-Russian Festival of Labour on 1 May 1920
- 1935
- Canvas, oil. 150,5 х 252
- The State Russian Museum
- ЖБ-1829
Pyotr Buchkin depicts one of the first national Communist subbotniks in Leningrad. This picture was possibly painted for the First Exhibition of Leningrad Artists (1935), where the themes of labour and shock workers were virtually de rigeur. These working Saturdays, necessary during the civil war and accompanying economic crisis, later became a widespread movement. This one was dedicated to planting the first trees on Victims of the Revolution Square, as the Field of Mars was then known. But in this event the artist was attracted by the theme of modernity, shared holidays, and public festivities. The painting was created based on sketches and drawings from the actual event.
Sergei Kirov Reviews the Athletic Parade
- 1935
- Canvas, oil. 305 х 372
- The State Russian Museum
- ЖБ-1962
Sergei Mironovich Kirov (Kostrikov) (1886–1934): Communist arty functionary and member of he Soviet leadership. First secretary of the Communist Party in Leningrad (1926–34).
Following Sergei Kirov’s murder in 1934, a multitude of portraits and works on themes from his real and mythical biographies appeared in Soviet painting and sculpture. Alexander Samokhvalov painted a portrait of Kirov, Kirov on a Construction Site and his first ever large picture-panel — Sergei Kirov Receiving a Parade of Athletes. The artist had long dreamt of painting a multi-figure monumental picture resolved like a fresco. Work on the canvas lasted a long time. Striving to create a fresco-like effect, Samokhvalov experimented with colours, seeking decorative tones that would simultaneously be lifelike and natural. He finally chose a classical and solemn gamut of warm tones. The action takes place on Palace Square in Leningrad. The space is enclosed by the facade of General Headquarters with an enormous portrait of Lenin. The eyes of the athletes are rivetted on the figure of Sergei Kirov and other members of the Leningrad government on the rostrum. A group of girls break away from the main group to hand Kirov a bouquet of flowers.
The concept and painting of the panel reflect the main tendencies in the Soviet art of the 1930s. This was an aspiration towards monumentality and an image of the new Soviet citizen — a labourer, hero and romantic, morally and physically strong and handsome. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 349.
Премирование ударниц-текстильщиц фабрики «Красная роза»
- Cardboard, oil.
- Тверская областная картинная галерея
- Ж-2693
Collective Farm Holiday
- 1937
- Canvas, oil. 188 x 307
- The State Russian Museum
- Ж-5699
Arkady Plastov’s Collective Farm Holiday depicts the harvest celebrations at a Soviet collective farm. The festivities are not among those introduced by the Communist authorities; this is one of the traditional Russian folk holidays marking the most important events in the annual cycle of life. The villagers have brought in the harvest; now it is time to reap the fruits of their labours. Nature has been kind and lavishly rewarded their efforts. The banner crowned by the portrait of Joseph Stalin claims that «life has become better, life has become fun.» This is a token of the Soviet period and Communist propaganda, transferring the traditional folk festival beyond the bounds of a concrete village into a national celebration.
Arkady Plastov painted this picture after making a series of studies of fellow villagers. He was born and spent most of his life in the village of Prislonikha near the town of Ulyanovsk. The artist devoted his entire oeuvre to the rural theme. The heroes of his paintings are real people of the 1930s, recorded for posterity in the master’s poetic and sincere images. The idealised image of abundance and festivities was an official requirement of Soviet art in the 1930s. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 350.
Колхозный той
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-385
Ысыах
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1107
Праздник на Неве
- Paper, lithography.
- The State Russian Museum
- С.Гр.-16247
Hymn To October
- Canvas, oil.
- The State Russian Museum
- Ж-5846
Hymn to October depicts the ceremonial sitting of the Moscow deputies of workers with representatives from Party and public organizations in Moscow on 6 November 1942. Among the representatives of the cultural intelligentsia are Igor Grabar (1871–1960), Alexander Gerasimov (1881–1963), Solomon Mikhoels (Vovsy) (1890–1948), Vladimir Nemirovich-Danchenko (1858–1943), Alla Tarasova (1898–1973), Alexei Tolstoy (1882/1883–1945), Kornei Chukovsky (1882–1969) and Dmitry Shostakovich (1906–1975). Painted during the Second World War, this canvas acquired a particular significance. The triumphant red tones helped to inspire confidence that the country would emerge from the war victorious. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 355.
Nevsky Prospekt on 9 July 1945
- 1945
- Canvas, oil. 75,5 х 101
- The State Russian Museum
- Ж-9200
Elections to the Supreme Soviet of the USSR
- 1949
- .
- The State Russian Museum
- Ж-4405
In 1936, the new Stalinist constitution gave all Soviet citizens the right to vote. The first elections to the Supreme Soviet of the USSR took place on 12 December 1937. The press noted: "The election turned into a national holiday. Practically all residents of the country of voting age participated in the election". Alexander Volkov dramatised one of the fragments of the "national holiday" in a rural area. People, all dressed up, joyfully and excitedly rush to enter the polling station, and solemnly and sedately exit; an accordion player plays on the steps out front; the building is decorated with welcoming wall banners, posters, ribbons, and garlands with fluttering flags. The image grows to the scale of a public celebration in which new and old traditions, naïve enthusiasm and the thirst for a celebration are intertwined.
В праздник. (В выходной день)
- 1949
- Canvas, oil. 157 x 248
- The State Russian Museum
- Ж-6069
Водный праздник
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-367
Новый год
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-318
Первоклассница
- Canvas, oil.
- Самарский областной художественный музей
- Ж-844
Glory to the Great Stalin!
- 1950
- Canvas, oil. 351 х 525
- The State Russian Museum
- Ж-5872
The compositional and coloristic structure of the painting created by a team of authors (Yu. P. Kugach, V. K. Nechitailo, V. G. Tsyplakov) to the All-Union Art Exhibition of 1950, completely subordinated to the idea of presenting the leader of the state as the inspirer and organizer of the greatest victories. The grand staircase leading up, the hands of the applauding crowd, the open doors symbolizing a breakthrough into infinity, and the successfully staged lighting convey the jubilant mood of those present in the best possible way. Stalin appears in a shining halo, like a celestial descended to the crowd, close and inaccessible at the same time.
In the immediate environment of the leader are prominent members of the party and government (N. A. Bulganin, A. I. Mikoyan, A. A. Andreev, L. P. Beria, V. M. Molotov, A. N. Kosygin and others), famous military leaders and pilots (K. E. Voroshilov, I. N. Kozhedub, A. I. Pokryshkin), leaders production (A. G. Stakhanov), as well as prominent scientists — President of the USSR Academy of Sciences physicist S. I. Vavilov and Director of the Institute of Genetics of the USSR Academy of Sciences T. D. Lysenko. This "meeting" of academicians Vavilov and Lysenko (pictured on the left, behind the railing of the stairs) is one of the many paradoxes of Stalin's time. It is known that Sergey Vavilov's brother Nikolai, a prominent geneticist, founder and director of the Institute of Genetics, was arrested in 1940 with the help of Trofim Lysenko, who began the fight against classical genetics, and died in prison in 1943. Lysenko, after his arrest, headed the Institute and completed the destruction of genetics. Next on the canvas are representatives of numerous peoples inhabiting the Soviet Union, children and typical representatives of the masses. Thus, the ideologeme "man — crowd — leader" finds its canonical embodiment here. // Alice Lyubimova. Electronic catalog "Heroes and Villains of Russian History". St. Petersburg, 2010. p. 476.
За нашу партию. Золотая свадьба
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-460
Праздник в Вороново (Чувашия)
- Canvas, tempera.
- Самарский областной художественный музей
- Ж-1007
Первомайская демонстрация в г. Барнауле
- Cardboard, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-2749
1 сентября
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-1010
Праздник
- Canvas, oil.
- Ярославский художественный музей
- Ж-1963
Омск. Первомай
- Paper, tempera, pastel.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-882
Праздник во Владивостоке
- paper mounted on cardboard, tempera.
- Приморская государственная картинная галерея (Владивосток)
- Ж-671
Victory Day
- 1972–1975
- Canvas, oil. 199 x 187
- The State Russian Museum
- Ж-9536
Молодые. Свадьба
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2280
Москва праздничная
- Canvas, oil.
- The State Russian Museum
- Ж-10397
Victory Day
- 1975
- Canvas, oil. 114 x 125
- The State Russian Museum
- Ж-10144
У Вечного огня
- Canvas, oil.
- Вольский краеведческий музей
- ВКМ 15149-2
Зажгли ёлку
- Mounted on wood, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1370
8 марта
- 1978
- Canvas, oil. 58,0 x 67,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-151
Праздник в моей деревне. Сабантуй
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1557
Первомайская демонстрация
- Paper, pastel.
- Художественный музей «Арт-Донбасс», Донецк
Праздник на советско-монгольской границе
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-999
Физкультурное представление в день провозглашения Таджикской Автономной Советской Социалистической республики 15 марта 1925 г.
- Canvas, oil.
- Национальный музей Таджикистана, Душанбе
- Ж 1725
Праздник
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-1425
5 Августа. Первый салют
- Paper, linocut.
- Белгородский государственный художественный музей
- Г-148
Мои земляки
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-155
Праздник Аристотеля в Риге (Праздник студентов)
- Oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-1204
Провозглашение Марийской Автономной области
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-164
Праздник урожая (Хлеб убран)
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-1683
Человек родился
- 1985
- Canvas, oil. 175 х 200
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5782/3
Праздник
- Canvas, oil.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ЖВ-177
Спасибо, Москва!
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-2113
Торхов Федор Семенович
Янсон Сергей Карлович
Бочанцев Василий Иннокентьевич
Кукуйцев Валентин Васильевич
SAVINOV GLEB
1915 – 2000Никонов Павел Федорович
Тагаев Алексей Михайлович
Шайдуллин Шамиль Муртазович
Сергеева Нина Алексеевна
Ефимов Измаил Варсонофьевич
Косенков Станислав Степанович
Анманис Янис Гейнцович
Сидельников Игорь Иванович
Торгашин Владимир Михайлович
Лобода Анатолий Андреевич
Textile Workers
- Canvas, oil.
- The State Russian Museum
- ЖБ-988
Alexander Deineka painted this picture following a trip to a mill organised by a Soviet magazine. He was one of the leaders of the Society of Easel Artists, who developed the method of the synthetic reflection of reality. The artist had an uncommonly acute sense of the Zeitgeist, which he captured in his canvases. He masterly arranges the composition from adjacent planes inhabiting different time zones. The rhythms of the looms are united in an ornamental space, while the almost monochrome, silver-white palette lends the picture the precision and sharpness of an artistic statement.
Weaving Shopfloor
- Canvas, oil, tempera.
- The State Russian Museum
- Ж-8149
The industrial theme was addressed by many Soviet artists in the late 1920s. Artists were dispatched to factories to acquire «knowledge of life» and better depict it in their works. Alexander Samokhavalov painted Weaving Shopfloor after visiting the town of Ivanovo, a leading Soviet centre of weaving. Samokhvalov was particularly impressed by the «bright-white architectonics of the weaving shopfloor.» He later recalled: «Two or three young weavers walked calmly among the looms, like nannies ... as if expressing their approval of their rollicking rhythms and correcting possible problems with the same human affection.» Samokhvalov’s weavers are typical representatives of the period. Unlike the heroines of his other works, they are not heroicised. The artist’s task was almost entirely painterly. The picture is based on two perspective directions, with theforeground resolved like a proscenium. The «screens» of the looms pull the viewer’s eye into the depths of the shop floor, where it encounters a worker in a striped sports shirt walking towards it. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 347.
Баку
- Canvas, oil.
- Вольский краеведческий музей
- ВКМ 22497/3
Батум
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-1032
Foundrymen
- Study
- Early 1930s
- Canvas, tempera. 108 x 146
- The State Russian Museum
- ЖС-2000
At the beginning of the 1930s, Osolodkov painted a few works on the theme of “Foundrymen”, as well as some figures of individual workers. In this painting the artist concentrates on the sanctity of the labour process, the ritualistic invocation of fire, and light effects. Judging from the guidelines drawn across it, it was ultimately intended for a wall, which fit the requirements of the times but was not actually executed by many.
Rolling-Mill Shop at the Hammer and Sickle Plant
- 1930
- Canvas, oil. 172 x 132,5
- The State Russian Museum
- ЖБ-1799
In the years of the first five-year plans, one of the main heroes in fine art was the factory, and it was depicted as a Temple to Free Labour. Artists were interested in the diverse sectors of industry, gigantic structures, amazing mechanisms, the spectacle of the display, and worshiping the miracles of technology. In similar paintings, amid the factory colossi, the smoke and the racket, the flames and glints of metal, the workers are rendered as animate parts of a great mechanical organism. In Rozhdestvensky’s painting Rolling-Mill Shop at the Hammer and Sickle Plant, it seems at first that there are no people there; they cannot be seen. In the centre of the composition, which depicts an enormous factory floor, a blaze of fire bursts from the boilers, sending out thousands of sparks. The almost demonic scene of taming the element of fire is filled with sounds, momentum, heat, and contrasts in light.
Steelmaking
- 1930
- Canvas, oil. 143 x 176,5
- The State Russian Museum
- ЖБ-1830
This piece was painted during the artist’s trip to Dnepropetrovsk, at the Petrovsky Iron and Steel Works. “The huge metallurgic plant breathed steam, smoke, and fire,” the artist wrote in his diary in 1930. “Inside, on the shopfloors, I was able to observe a great deal, learn about the sequence of various work processes, and sketch figures in motion. One effect of light and colour followed another. One moment the human figures and mecha nisms, frames, braces, stacks, and cranes, were hidden by a veil of smoke, the next they were drowning in darkness, and then the molten metal lit up the room with an unbelievable light. The picture changed like a chameleon” (K. S. Kravchenko. A. V. Kuprin. Soviet Artist, Moscow, 1973, p. 202).
В модельном цехе
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2202
Вход в шахты
- 1931
- Paper, tempera, watercolours. 89 x 70,5
- The State Russian Museum
- РС-4951
Днепрострой
- 1931–1932
- Canvas, oil. 49 × 111
- Донецкий республиканский художественный музей
- Ж-216
Кондострой
- 1931
- Canvas, oil. 69 х 94
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Ж-466
Магнитострой
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-120
На стройке комсомольской домны
- Paper, ink, gouache.
- Магнитогорская картинная галерея
- Г-148
Нефтепромысла
- 1931
- Canvas, oil. 108 x 206,5
- The State Russian Museum
- Ж-2337
Постройка домны
- Paper, ink.
- Магнитогорская картинная галерея
- Г-579
Ремонт паровоза
- 1931
- Canvas, oil, tempera. 82,5 x 86
- The State Russian Museum
- Ж-9324
Строительство в Армении
- 1931
- Canvas, oil. 132 х 161
- The State Russian Museum
- Ж-9077
Строительство в Армении
- 1931
- Canvas, oil. 97,4 х 142
- The State Russian Museum
- ЖБ-1181
Строительство новой улицы в Ереване
- 1931
- Canvas, oil, tempera. 99 х 120
- The State Russian Museum
- Ж-9339
Стройка в Магнитогорске
- Paper, , ink.
- Магнитогорская картинная галерея
- Г-585
У нас
- plywood, gouache.
- Ярославский художественный музей
- Ж-363
Хибиногорск на фоне Вудъяврчорр
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2215
Чеканщики
- Paper, , ink.
- Магнитогорская картинная галерея
- Г-586
Heated Basin and Log Conveyors
- From the Timber Harvesting series
- 1932
- Canvas, oil. 104 х 68,5
- The State Russian Museum
- ЖБ-1394
Turning to the theme of productive labour, so important to painting in the 1920s and 1930s, Boris Tsvetkov creates a series of works entitled Timber Harvesting, which includes Heated Basin and Log Conveyors. Having chosen a relatively unusual theme, the artist finds an effective vantage point — a bird’s eye view — allowing him to construct a diagonal composition that corresponds logically to the dynamics of the situation, while the style itself favours sharp contours. The name of the painting indicates the nature of the process being depicted. The heated basin serves to warm the timber so that it can be better milled, while a mechanised device — a log conveyor — moves the logs onto the shopfloor. The group working with the hitches, the starting point for the industrial process, is also the central visual and conceptual centre of the painting as well. The entire composition is permeated with the bright light of a frosty winter day and an atmosphere of optimistic and fruitful labour, a characteristic common to Soviet painting of that era.
Нефтяные промыслы
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-186
Металлургический завод в Сталино
- 1933
- Canvas, oil. 82 × 62
- Донецкий республиканский художественный музей
- Ж-1922
Ленинградский порт. Лесоэкспортная механизированная гавань
- 1935
- Canvas, oil. 200 х 297
- The State Russian Museum
- Ж-4486
Косогорский металлургический завод. Перед сменой
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-625
М. И. Калинин на вагонном заводе
- plywood, pavoloka, gesso, tempera.
- Тверская областная картинная галерея
- Ж-2610/1
Наступление начинается здесь
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-140
Юноши и девушки города Ленина, самоотверженно трудитесь на помощь фронту!
- Paper, .
- The State Russian Museum
- Гр.Пл.-643
Дмитровский шлюз
- 1947
- Canvas, oil. 137 x 180
- The State Russian Museum
- Ж-5603
M. G. Gusarov, Distinguished Steel Founder of the Hammer and Sickle Factory, with His Brigade
- From a series of portraits painted at the Hammer and Sickle Factory, for which the author received a Stalin Prize of the 3rd degree in 1949
- 1949
- Canvas, oil. 200 х 200
- The State Russian Museum
- Ж-6068
У токарного станка
- 1949
- .
- The State Russian Museum
- С.Гр.-3080
У фрезерного станка
- 1949
- .
- The State Russian Museum
- С.Гр.-3081
Свежий номер цеховой газеты
- 1952
- Canvas, oil. 168 x 232
- The State Russian Museum
- Ж-6028
Construction of the Kuybyshev Hydro-Electric Power Station
- 1953
- Canvas, cardboard, oil. 71 х 96
- Калининградский музей изобразительных искусств
- Ж-2355
На строительстве Южсиба
- 1955
- Canvas, oil. 90 х 115
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-4918/21
Первая плавка чугуна на Череповецком металлургическом заводе 24 августа 1955 г.
- Canvas, oil.
- Череповецкое музейное объединение
- ЧерМО-2928
Плавка выдана
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-111
Богатыри Донбасса
- Canvas, oil.
- Луганский художественный музей
На строительстве мартена Череповецкого металлургического завода
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-635
Будни Сталинградской ГЭС
- Canvas, tempera.
- Самарский областной художественный музей
- Ж-1034
Будни завода
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-442
На запани
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-788 АОМИИ
Портрет делегата XXI съезда КПСС А. Ф. Кузьмина
- Canvas, oil.
- Самарский областной художественный музей
- Ж-975
Казахстанский мартеновский цех
- 1960
- Canvas, oil. 78 х 100
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 1339
Куйбышевская ГЭС
- Canvas, oil.
- Самарский областной художественный музей
- Ж-МП-38
Погрузка «Оби»
- 1960
- Canvas, oil. 170 х 232,4
- Калининградский музей изобразительных искусств
- Ж-567
Ваза «Строительство»
- .
- Магнитогорская картинная галерея
- ДПИ-258
Караван
- Canvas, tempera.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-344
Шахтёр
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-423
Грузы для Красноярской ГЭС
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-13
Цементный завод «Большевик»
- Cardboard, gouache.
- Вольский краеведческий музей
- ВКМ 22551
Мост строится
- Cardboard, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-2082 АОМИИ
Кучукский сульфатный комбинат
- Canvas, cardboard, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-2748
Отдел контроля
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2369
Строители Волго-Балта
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-3908
На буровой. Белая ночь
- Cardboard, tempera.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ГР-81
Сахалинрыбпром
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж/дв-1160
Куйбышевская ГЭС
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1270 АОМИИ
Общий вид Аксайского карьера
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-2794
Цементный завод
- Cardboard, gouache.
- Вольский краеведческий музей
- ВКМ 11587/2
Цементный завод «Красный Октябрь»
- Canvas, oil.
- Вольский краеведческий музей
- ВКМ 13789
Будет ГЭС
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-2207
Заказ Родины – домна № 6 НТМК / Шестая домна Нижнетагильского металлургического комбината
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-93
Обед строителям
- Paper, lithography.
- Череповецкое музейное объединение
- ЧерМО-5668/1
Строительство Вилюйской ГЭС
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-2206
Турксиб
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-2791
Цементный завод «Большевик»
- Cardboard, gouache.
- Вольский краеведческий музей
- ВКМ 22552
Блюдо «Наши стройки»
- Porcelain, painting.
- Магнитогорская картинная галерея
- ДПИ–741
На руднике. День взрывов
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-1758
Новый порт
- 1970
- Canvas, oil. 69 x 113
- Мурманский областной художественный музей
Донецкий металлургический завод
- 1971
- Canvas, oil. 101 × 197
- Донецкий республиканский художественный музей
- Ж-1803
Ковш
- Paper, lithography.
- Череповецкое музейное объединение
- ЧерМО-5668/2
Начало строительства Саяно-Шушенской ГЭС
- 1971
- Canvas, oil. 100 х 140
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5381
Первое рабочее колесо Саяно-Шушенской ГЭС
- 1971
- Cardboard, oil. 50 х 70
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5327/1
Капчагайская ГЭС
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-2465
Будни ЛДК
- Canvas, oil.
- Национальная галерея Республики Коми, Сыктывкар
- Ж633
Молодые рабочие завода «Красная Этна»
- 1974
- Gesso, tempera. 100 х 100
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-112
Рыбацкий край
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-1754
Сборщики
- 1975
- Canvas, oil. 120 х 120
- The State Russian Museum
- Ж-10680
Строительство 1-ой насосной
- Cardboard, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-2680
Перекрытие Енисея в Саянах
- Canvas, oil.
- Красноярский художественный музей имени В. И. Сурикова
- Ж 845
Газоперерабатывающий строится
- Paper, .
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ГР-344
Рабочий день на БАМе
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-719
Шахта «Комсомолец Донбасса»
- Paper, watercolours.
- Художественный музей «Арт-Донбасс», Донецк
Вольск индустриальный
- Canvas, oil.
- Вольский краеведческий музей
- ВКМ 13808
Над белой пустыней
- Cardboard, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-3681(а)
Стальные шаги БАМа
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-23
Трудовые будни
- Canvas, oil. 150 х 121
- Вольский краеведческий музей
- ВКМ 11999
Хлебная страда
- Cardboard, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-3681(в)
Юность
- Cardboard, tempera.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-3681(б)
In the Kaliningrad port
- 1979
- Canvas, oil. 114,4 х 124,8
- Калининградский музей изобразительных искусств
- Ж-561
Газопровод "Уренгой-Челябинск"
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-585
Мерзлотоведы северного БАМа
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1887
Гобелен «Даешь Магнитку». Год 1930»
- Wool, .
- Магнитогорская картинная галерея
- ДПИ-941
Новостройка Хакасии – ТЭЦ
- 1980
- Canvas, oil. 70 х 110
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5130/23
Поднимем из руин наш родной Зугрэс!
- Paper, etching.
- Художественный музей «Арт-Донбасс», Донецк
Докеры Находки
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-766
Печь
- Paper, .
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- 202 ИЗО
Термическая обработка
- Paper, .
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- 203 ИЗО
Ритмы Донбасса
- Paper, watercolours.
- Художественный музей «Арт-Донбасс», Донецк
Первый сквозной
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-788
"Северянка" растет
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-1122
Завод «Большевик». Пароводоцех
- Canvas, oil.
- Вольский краеведческий музей
- ВКМ 16278
Ритмы Звениговского судостроительного
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-374
Нефтяники Балтики. Смена бригады
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-733
Трудовой Саранск
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж 1812
Гобелен «Память прожитых лет»
- Wool, .
- Магнитогорская картинная галерея
- ДПИ-1349
Рабочий порт ЧМЗ
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-741
Гремитских Владимир Георгиевич
Новосёлов Александр Михайлович
Пурыгин Валентин Захарович
Добровольский Владимир Федорович
Чернов Семен Ипатьевич
Ладур Антонина Казимировна
Невский Вячеслав Юрьевич
Фомичев Василий Осипович
Колмаков Леонид Николаевич
Григорьева Лариса Ивановна
Савинов Анатолий Григорьевич
Шемякин Герман Андреевич
Галаганов Иван Алексеевич
Краев Александр Игнатьевич
Рыбачук Иван Васильевич
Кобелев Евстафий Клементьевич
Шендель Владимир Степанович
Гасан-заде Акрам Гулам оглы
Муллашев Камиль
Иннокентьев Николай Николаевич
Пастухов Анатолий Александрович
Сорочкина Изольда Семёновна
Грачев Алексей Николаевич
Ситников Николай Алексеевич
Тышкевич Григорий Антонович
Дубовов Николай Константинович
Дмитриева Валентина Ивановна
Петряшов Виктор Иванович
Woman with Buckets
- 1928
- Canvas, tempera. 185 x 150
- The State Russian Museum
- Ж-10265
Сбор яблок
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-699
Youth. Laughter
- 1930
- Canvas, oil. 94 x134
- The State Russian Museum
- Ж-1812
In the post-revolutionary years of establishing a new ideological system, the tides turned in Juon’s art when he attempted to find themes in sync with the times. From the second half of the 1920s to the beginning of the 1930s, the artist focused on a specific genre form, something of a “narrative portrait”, in which he captures typical characters of the age — Komsomol members, recreational athletes, parachutists… in other words, the new Soviet youth. He also touches on the theme of the Russian village, choosing archetypical village girls with simple faces and red cheeks, exemplifying the cult of physical fitness and moral rectitude. He most likely encountered many such girls in the village of Ligachevo outside Moscow, which he called his “aesthetic refuge”, and where in 1908 he firmly established his studio.
Бригада во время перерыва
- 1931
- Canvas, oil. 123 x 99
- The State Russian Museum
- ЖБ-1727
В свиноводческом совхозе
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-319
Collective Farm Workers Talking
- Panel design for the People’s Commissariat of Agriculture
- 1934
- Canvas, oil. 128 x 176
- The State Russian Museum
- Ж-4436
Working on sketches for paintings for the People’s Commissariat of Agriculture building, Deineka travelled many times to villages and communal farms outside of Moscow, where he gathered material for his images. He chose to use a restrained aesthetic range, springing from the rich tradition of fresco painting that Deineka admired. In this case, the artist captured a brigade of collective farm workers listening, apparently, to their chairman.
On the Threshing Floor. Threshing
- 1935
- Canvas, oil. 192,5 х 294
- The State Russian Museum
- ЖБ-985
Сбор хлопка
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-386
Сбор ягод
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-623
Выходной день в колхозе
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
Группа «Колхозный молодняк»
- 1936
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-61
Колхоз в Армении
- 1936
- Canvas, oil. 127 x 100
- The State Russian Museum
- Ж-9071
Рыбацкий колхоз на реке Шексне
- Canvas, oil.
- Ярославский художественный музей
- Ж-251
Стадо тагилок
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-427
Социалистическое животноводство
- 1947
- Canvas, oil. 124,5 х 200
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 1194
На приволье (Животноводство в Сибири)
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2201
In the Peaceful Fields
- 1950
- Canvas, oil. 200 x 400
- The State Russian Museum
- Ж-6070
Субботник по заготовке дров в Егорьевске
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 318
Витя-подпасок
- 1951
- Canvas, oil.
- The State Russian Museum
- Ж-5957
Доярка Нина Болотина
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-278
Агролаборатория колхоза «Красный Октябрь»
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-1158
Кормозапарник при скотном дворе колхоза им. Сталина
- Canvas, oil.
- Череповецкое музейное объединение
- ЧерМО-2499/4
На колхозной птицеферме
- 1952
- Canvas, oil. 120 х 200
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
На джайлау
- 1953
- Canvas, oil. 104 х 173
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 1237
На полях Киргизии
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 1577-626ж
Весна на целине
- Paper, .
- Нижнетагильский музей изобразительных искусств
- Г-346
Становище седьмого стада Индигского оленсовхоза
- 1954
- Cardboard, oil. 17,0 х 49,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-140
Птичница Таня Куратова
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-0740
Ремонт сельхозинвентаря
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 304
Хлебоуборка в Хакасии
- 1950s
- Canvas, oil. 90 х 150
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-4918/17
Полдень
- 1956
- Canvas, oil. 120 х 172,5
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Рождение совхоза
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-145
Уборка урожая в колхозе им. Сталина Череповецкого района
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-628
На винограднике
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 1850-741ж
На колхозной стройке
- 1957
- Canvas, oil. 121 х 240
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
В отпуске
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-645
Полдень на целине
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-1338
Morning
- 1959–1960
- Canvas, oil. 160 x 330
- The State Russian Museum
- Ж-7740
The artist’s concept for the painting "Morning" is connected with his impressions of the area around Lake Onega, which he visited in 1955. It synthesises motifs that the artist refracted into a poetic image of a spring morning on a collective farm. In this image, all the artistic techniques used work: the horizontal frieze design of painting, the rhythmic saturation, and the richness of the emotional hues. The painting is monumental, a kind of song about the zest for life of the inhabitants of this world.
Колхозные ясли
- 1957-1960
- Canvas, oil. 140 х 200
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Трактористка
- 1959
- Canvas, oil. 156 x 90
- The State Russian Museum
- Ж-7550
Family. 1945
- 1957–1964
- Canvas, oil. 175 x 254
- The State Russian Museum
- Ж-8141
The name of Victor Ivanov instantly conjures up images of courageous, wise and handsome people. These features are incarnated in the “peasant Madonna” gathering her family around the table after the post-war jubilation has died down and life has returned to normal. This patient heroine has awaited the return of her husband from the front and now sits at the head of the table. The relief-like composition and the austere silhouettes exude an air of solemnity. The rough and angular drawing, harsh forms and ringing tones create a mood of tension.
In the Field
- 1958–1960
- Canvas, oil. 170 x 306
- The State Russian Museum
- Ж-7691
Портрет доярки Натальи Клименко
- 1960
- Canvas, oil. 184 × 212
- Донецкий республиканский художественный музей
- Ж-554
Весна
- Canvas, tempera.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-456
Ловля лошади
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 1753-ж
Портрет колхозницы Л. Синюриной
- 1962
- Canvas, oil. 100 х 80
- Калининградский музей изобразительных искусств
- Ж-2533
Молодежь на ферму
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-573
Under the Old Apple-Tree
- 1969
- Paper, сharcoal , gesso, polyvinylacetate tempera, wood-shavings plate , sauce. Plate 202 х 140, painting 178 х 98
- The State Russian Museum
- Ж-11303
Dmitry Zhilinsky often manifested his creative aspirations in portraiture. One of the idiosyncrasies of his art was his habit of depicting in the concrete not the fleeting, but the most important element of a man’s personality. Zhilinsky preferred clear, collected and intellectual images. He was inspired by the art of the Old Masters, particularly the early Italian Renaissance and Old Russian painting. The artist openly addresses the art of the past in his modern images: «I love exactness of expression and completeness of form — in my own understanding of these words, of course.» Zhilinsky’s works are distinguished by their pure and decorative tones, melodious lines, plastic silhouettes and harmonic compositions. The artist’s painting technique was also unusual; he frequently worked in tempera on levkas, lending a colourist sublimity to his works. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 362.
Материнские думы
- 1969
- Canvas, oil. 210 x 250
- The State Russian Museum
- Ж-9814
Хозяева земли
- Oil, canvas.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1659
Портрет доярки Л. Стефановой
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-1053
Село Большая Пысса. Весна
- Canvas, oil.
- Смоленский государственный музей-заповедник
Хлопкоробы
- Canvas, oil.
- Национальный музей Таджикистана, Душанбе
- Ж 1304
У родника
- 1974
- Paper, .
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Г-739
Щедрая осень
- Cardboard, oil.
- Сахалинский областной художественный музей
- Ж-552
Автопортрет. (Трудовые будни)
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2595
Июньская пора
- 1976-1977
- Canvas, oil. 203 х 233
- The State Russian Museum
- Ж-10289
Урожай
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 7210-2057ж
Красный трактор, из триптиха «Вехи Страны Советов»
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- РМИИ КП-4331/3
В страдную пору. Жатва окончена
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-134
Девушка хлебороб
- Cardboard, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-1194
Доярки
- Canvas, oil.
- Государственный музей искусства народов Востока, Северокавказский филиал, Майкоп
- 127 ИЗО
Молодые животноводы
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-1618
Трудный хлеб
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-2118
Бригадир чабанов совхоза «Ульгули» Жаналыкского района
- 1985
- Canvas, oil. 160 х 170
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 167
Быховские бахчеводы
- 1985
- Canvas, oil. 164 х 241
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5782/2
Земля
- Casting.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- С-114
Праздник урожая (Хлеб убран)
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-1683
Разговор о земле
- 1985
- Canvas, oil. 130 х 200
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5782/10
Свидетельница веков
- 1985
- Canvas, oil. 150 х 200
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 283
Агроном
- 1986
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-203
Май в Листвянке Байкальской
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-320
Калачев Сергей Алексеевич
Лысенко Андрей Гаврилович
Кенбаев Молдахмет Сыздыкович
Еремин Алексей Григорьевич
Халилуллов Исмагил Минтагирович
Павлишак Иосиф Андреевич
Стожаров Владимир Федорович
Михайлин Иван Алексеевич
Папикян Карен Альбертович
Чемсо Виктор Муссович
Галимбаева Айша Гарифовна
Патрин Виктор Петрович
Хабленко Михаил Семёнович
Красный флот - защита СССР от врагов
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1171
Чем сильнее будет мощь флота, тем прочнее станет советская власть
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1164
Death of a Commissar
- Canvas, oil.
- The State Russian Museum
- Ж-7685
“The Death of a Commissar” was painted by Petrov-Vodkin in 1928. It was commissioned from the Revvoyensoviet (Revolutionary Military Council) for the exhibition “10 years of the RKKA” (The Workers' and Peasants' Red Army). The painting occupies a central place in the Soviet period of Petrov-Vodkin’s creative work. The theme of life, sacrifice and death, which is one of the basic themes for the artist, was illustrated there for the first time in the images of the revolutionary heroes. The plot of the painting is based on an event from the Russian Civil War.
Two figures – the mortally wounded commissar and a soldier supporting him are placed in the foreground. Driven by the whirlwind of battle, the Red Army soldiers slope down the hill. In the composition of the two main characters depicted in the foreground one can see the iconography of the Pieta – the scene of the Lamentation of Christ. The death, though for the sake of other ideals, gains the high sense of sacrificial service to humanity. Petrov-Vodkin expressed his unique artistic system in this work. He gave up the traditional linear perspective and developed the new “spherical” perspective, which presented in poetical form the artist’s world view. Thanks to this perspective the depicted overgrows the framework of the single fact and gains a planetary, universal meaning.
In the Far East. Red Army Soldier
- Canvas, oil.
- The State Russian Museum
- Ж-8392
Группа «10 лет Красной Армии»
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-137
Militarised Komsomol
- 1931-1933
- Canvas, oil, tempera. 198,5 х 276
- The State Russian Museum
- Ж-8235
In this large painting, Samokhvalov depicted the members of a youth communist organisation, who displayed their determination as a group as they were training in order to defend their country. Samokhvalov painted the picture to celebrate the 15th anniversary of the Red Army. The painter was impressed by what he saw at the shooting range: “there was a group of girls, lying down and improving their sniper skills. The bright and colourful clothes of these young people enhance the painting’s colours. The formation of the Komsomol members comes right at the spectator as the girl with a gas mask brings up the rear. There are studies for this painting: “Komsomol Youth” and “Girl at the Military School”.
Red Army Commanding Officers
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-53
Sentry
- Model of a statue
- 1933
- . 40 x 45 x 32
- The State Russian Museum
- СО/ПФ-1
Sherwood’s sculpture Sentry, executed at a time when the official Socialist Realism style was being formed and affirmed, has become somewhat of a metaphor in sculpture for the spirit of revolutionary romanticism. Sculpted using realistic but relatively generalised sculptural forms, and lacking specific portrait features, the figure embodied the collective image of a heroic soldier of the revolution, in accordance with the canons of the new style. Along with Vera Mukhina’s sculptural composition Worker and Collective Farm Woman, Sentry has become one of the most popular sculptural symbols of the Stalin era.
Группа «Готовы к обороне»
- 1932
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-115
Группа «Готовы к обороне»
- 1932, 1936
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-116
Империалисты готовят нападение с моря. Усилим мощь обороны морских границ СССР
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-410
Комсомолец
- 1932
- Canvas, tempera. 142,5 x 64
- The State Russian Museum
- Ж-10396
Осоавиахимовка
- 1932
- Canvas, tempera. 120 x 116
- The State Russian Museum
- ЖБ-1787
Командир
- Canvas mounted on cardboard, oil. 25,5 х 18,5
- The State Russian Museum
- Ж-11524
Maxim Gorky ANT-20
- Canvas, oil.
- The State Russian Museum
- ЖБ-1057
The painting “ANT-20 Maxim Gorky” by Vasily Kuptsov is the most significant work among the few ones that have been preserved. On a surge of general interest to the aviation, parachuting, aircraft modelling in 1920s-30s the artist suggested that the theme of aviation was one of the most important in art and dealt with the flight theme repeatedly. The work was painted in 1934 when the plane ANT-20 Maxim Gorky, the biggest one of that time, was constructed. The plane was supposed to to serve for agitation and propaganda. Under the wings of the gigantic plane escorted by the squadron of fighters and multicoloured parachutes one can see St.Peter and Paul Fortress and the Neva, the Spit of Vasilyevsky island and the Admiralty, the Winter Palace and Palace Square (called at that time Uritsky Square). Kuptsov was a spiritual disciple of Pavel Filonov and an keen propagandist of his analytical art. In a peculiar way the painting represents the Filonov’s conception of growing of the form that suggests that from small parts designed like a mosaic the majestic panorama of St. Petersburg – Leningrad appears.
Osoaviakhim Stratosphere Balloon
- 1935
- Canvas, oil. 238 x 156
- The State Russian Museum
- ЖБ-1887
The Osoaviakhim-1 stratosphere balloon was launched on January 30, 1934. The balloon reached a height of 22 km, beating a world record. But in a few hours the flight ended in terrible tragedy. The cables attaching the basket broke, causing it to fall from a height of 2 km. All three crew members were killed. Flying to such a high altitude was foolhardy, as it significantly exceeded the device’s technical capabilities. The launch took place on the opening day of the 17th Congress of the All-Union Communist Party (Bolsheviks). The deputies at the congress were read a radio telegram from the crew sending greetings to the party and a report on the height reached. The tragic ending was only announced the following day. The stratonauts were declared heroes. Their ashes were interred in the Kremlin wall, with the heads of the party and the state taking part in the interment ceremony. After an investigation of the reason for the catastrophe, many experts who had taken part in the preparations for the expedition were shot. Osoaviakhim, or the Society for Assistance to Defence and Aeronautic-Chemical Construction, was a mass social volunteer organisation of Soviet Union citizens that existed from 1927 to 1948. All across the country, the organisation oversaw the founding of clubs and training facilities to prepare the population to defend the USSR. By 1928 the society already had 2 million members. Special pins, stamps, and posters were made to publicise Osoaviakim’s activities.
Знак нагрудный "Юный Ворошиловский стрелок"
- 1930-40s
- Bronze, enamel. 32 x 26
- The State Russian Museum
- Мед.А-20815
На страже
- 1930-1940
- Canvas, oil. 70,1 х 47
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Морской флот - могучий страж водных рубежей
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-229
На боевом участке
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2197
Портрет летчика М. М. Громова
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1255
Бойцы за учебой
- Paper, lithography.
- The State Russian Museum
- С.Гр.-4944
Комсомол - шеф над Красным флотом. 75% флота - комсомол
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1394
Портрет Героя Советского Союза А. С. Осипенко
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-184
Portrait of Andrei Yumashev
- 1941
- Canvas, oil. 140 х 111
- The State Russian Museum
- Ж-5601
Andrei Yumashev (1902–1988) was a legendary fighter pilot who flew across the North Pole from Moscow to the United States, setting a world record for a non-stop direct flight with flight commander Mikhail Gromov and Sergei Danilin. He was awarded the title of Hero of the Soviet Union in 1937. As a boy, Andrei Yumashev had been interested in art. He attended the courses of the Society for the Encouragement of Artists and was later a friend of Ilya Mashkov, Robert Falk and Pyotr Konchalovsky. The pilot made sketches and painted portraits in the 1920s. Yumashev’s military career began at the age of sixteen, when he volunteered for the Red Army. He then became an air cadet and flew in the Winter War against Finland. The commander of a squadron of fighters during the Second World War, Yumashev paid occasional visits to Pyotr Konchalovsky in Moscow, where the artist painted his portrait. What’s more, Konchalovsky gave the aviator a canvas, brush and paints and he in turn painted a portrait of the artist. Later vice-commander of the First and Third Air Force on the Western Front, Yumashev fought at the Battle of Kursk in 1943. Major general of the Soviet Air Force (1943). After the war, he was transferred to the reserve and joined the Union of Artists in 1946. Andrei Yumashev was not only a professional pilot, but also a highly cultured individual. The portrait depicts his energy, strength, dignity and confidence. The style of painting and the very texture is energetic.
В помощь фронту
- Metal.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- Инв. № 6213-218-с
Родина-мать зовет
- Paper, chromolithography.
- The State Russian Museum
- Гр.пл.-2299
Defence of Sebastopole
- 1942
- Canvas, oil. 200 x 400
- The State Russian Museum
- ЖБ-954
The picture was painted in 1942, during the height of the Second World War. The artist wrote: «I was in the war and saw the battles and many grave and heroic episodes. For some reason, I decided to paint Defence of Sebastopole, although I did not see the resistance of the city; I only heard the tales about the defence. Why did I paint this work? I love Sebastopole, a town I often visited before the war, on ships and cruisers … When I saw photographs of the ruined town, I realized that I had to paint this picture. When I was working on it, I experienced everything for real and put my whole heart into it.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 355.
Portrait of Partisan V
- 1942
- Canvas, oil. 101 х 83
- The State Russian Museum
- Ж-5588
The painting depicts Dmitry Ivanovich Vlasov, an engineer at the Dubrovka Wood Processing Factory who commanded the 164th Vsevolozhsk Partisan Detachment from 1941 onwards.
Бой под слободой Стрелецкой
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-288
На Сталинградский фронт
- Canvas, oil.
- Самарский областной художественный музей
- Ж-745
Партизанский отряд (Лесгафтовцы)
- Canvas, oil.
- The State Russian Museum
- Ж-5573
На запад!
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-2359
Портрет товарища Литаврина / Портрет Героя Советского Союза, летчика-истребителя капитана С.Г. Литаврина
- Canvas, oil.
- The State Russian Museum
- Ж-5593
Портрет товарища Шишканя / Портрет Героя Советского Союза, летчика-истребителя старшего лейтенанта И.М.Шишканя
- Canvas, oil.
- The State Russian Museum
- Ж-4434
Проводы мобилизованных в 1941 году
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- 339
Прорыв блокады
- 1943
- Canvas, oil. 299 х 464
- The State Russian Museum
- Ж-5563
The Taking of Sevastopol
- 1944-1947
- Canvas, oil. 317 х 494,5
- The State Russian Museum
- Ж-5577
The painting was shown in 1948 at the all-union art exhibition in the Pushkin Museum of Fine Arts in Moscow dedicated to the Soviet military’s 30th anniversary. The artist received a 3rd-degree State Prize for this exemplary work of the Soviet battle-painting genre, which in this case intersects with the historical genre, since it depicts a real historic event. The painting records the climactic moment in one of the key episodes of the Second World War, the liberation of Sevastopol from enemy occupation.
Гость с фронта (Дорогой гость)
- Canvas, oil.
- Смоленский государственный музей-заповедник
Проводка каравана в Белом море
- Paper, gouache.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Г-5940 АОМИИ
Юноши и девушки города Ленина, самоотверженно трудитесь на помощь фронту!
- Paper, .
- The State Russian Museum
- Гр.Пл.-643
Portrait of Georgy Zhukov
- 1945
- Canvas, oil. 109 х 90
- The State Russian Museum
- Ж-6446
Georgy Konstantinovich Zhukov (1896–1974): Soviet military commander, Marshal of the Soviet Union (1943), four-times Hero of the Soviet Union (1939, 1944, 1945, 1956), deputy USSR People’s Commissar for defence and deputy Commander-in-Chief (from 1942). Commanderin-Chief of the group of Soviet Forces in Germany and high commander of the Soviet Administration (1945–1946). He was also a Hero of the Mongol People’s Republic. Pyotr Kotov’s work is an artistic document depicting a concrete person. The literature is silent about the circumstances surrounding the painting of the portrait, possibly linked to the fact that the popular commander fell into official disfavour in March 1946 and was removed by Stalin from the post of Deputy Minister of Armed Forces and Commander of Land Forces of the Odessa Military District and, two years later, the Urals Military District.
Маршал Советского союза Л.А.Говоров
- Gypsum.
- The State Russian Museum
- СО-91
Награжденный медалью
- Canvas, oil.
- The State Russian Museum
- Жб-1984
Портрет героя Советского Союза т. М. П. Чечневой
- Canvas, oil.
- Самарский областной художественный музей
- Ж-845
Сталину - спасибо! 1945 г.
- 1946
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1989
Russian Soldier
- 1947
- Canvas, oil. 205 х 165,5
- The State Russian Museum
- Ж-5570
The image of a Russian soldier rescuing a German girl during street battles in Berlin became an element of propaganda symbolizing the humanity of the Red Army. Its most celebrated embodiment is the Soviet War Memorial in Berlin’s Treptower Park, created by sculptor Evgeny Vuchetich in the same years in which Fyodor Nevezhin painted this work.
Вернулся
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-849
Непокорённые
- Canvas, oil.
- Луганский художественный музей
Он защищал Родину (Подвиг Юрия Смирнова)
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-516
Сталинградцы (Город не сдается)
- Canvas, oil.
- The State Russian Museum
- Жб-966
The People in the Second World War
- 1948
- Canvas, oil. 200 х 300
- The State Russian Museum
- Ж-7017
To create a rich image to express what the country had experienced, Deineka used a poster-like compositional treatment with a precisely balanced linear rhythm and a combination of several subjects of differing scales. Taking a scene he’d personally witnessed, the artist recreated it to reflect its importance in historical terms. The female figure in the foreground is allegorically charged: the motherland herself seeing her sons off to the front. The road’s broad diagonal divides the pictorial space into two planes, intensifies the composition’s expressive dynamism and symbolises both progress towards victory and the coming life of peacetime.
Возвращение героя
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-869
Краснодонцы
- Canvas, oil.
- The State Russian Museum
- Ж-6056
Нахимовец на Авроре
- 1948
- Lithography.
- The State Russian Museum
- С.Гр.-6566
Подвиг пяти черноморцев
- Canvas, oil.
- Симферопольский художественный музей
Портрет К. Е. Ворошилова
- 1948
- Canvas, oil. 153 х 123
- The State Russian Museum
- Ж-6047
Суворовцы на лыжах
- .
- The State Russian Museum
- С.Гр.-16133
Portrait of Timofei Khryukin
- Cast in 1949
- Bronze. 187 х 150 х 88
- The State Russian Museum
- СО-36
Timofei Timofeyevich Khryukin (1910–1953) was a Soviet military leader, pilot, colonel general in aviation, and twice Hero of the Soviet Union (1939, 1945). He participated in the Spanish Civil War (1936–1939), the Sino-Japanese War (1937–1945), the Soviet-Finnish War (1939– 1940), and the Second World War. For Khryukin’s ceremonial portrait the artist adopts the classical bust form, known in art since the time of Ancient Rome. The military greatcoat thrown over the general’s shoulders is transformed by the sculptor into a sumptuous drape, similar to the ceremonial toga of a Roman military leader. Different versions of the busts, executed in various materials, were installed on Khryukin’s grave at the Novodevichy Cemetery in Moscow and in the city of Yeysk, where Khryukin was born.
Защитникам морских рубежей Советского Союза - Слава!
- Paper, .
- The State Russian Museum
- Гр.Пл.-810
Советские моряки! Укрепляйте могущество военно-морских сил Советского государства
- Paper, .
- The State Russian Museum
- Гр.Пл.-831
Portrait of the Lieutenant General of Aviation Andrei Tupolev
- 1950
- Canvas, oil. 140 x 90
- The State Russian Museum
- Ж-6026
Andrei Nikolayevich Tupolev (1888–1972), Soviet aeroplane builder, Academician of the USSR Academy of Sciences (1953), three-times Hero of Socialist Labour (1945, 1957, 1972) and General Commanding Engineer (1968). Winner of the Stalin Prize (1943, 1948, 1949, 1952), the Lenin Prize (1957) and the State Prize (1972). Tupolev designed more than 100 types of aircrafts, including the airliners of TU-models that bear his name.
Герой СССР П. Вершигора
- Paper, watercolours.
- Музейно-выставочный центр (г. Когалым)
- ОФ-53
«Муса Джалиль. Перед приговором»
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1371
Дыхание весны
- Canvas, oil.
- The State Russian Museum
- Ж-6784
Ленинград в борьбе. (Дежурные МПВО)
- Canvas, oil.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-670
Защитники Брестской крепости
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-4366
Интернационал
- 1957–1958
- Canvas, oil. 285 x 128
- The State Russian Museum
- Ж-8121
В отряд к Фрунзе
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 1917-766ж
Ополченцы
- Canvas, oil.
- The State Russian Museum
- Ж-7585
Красные пришли
- 1961
- Canvas, oil. 200 x 360
- The State Russian Museum
- Ж-8470
Портрет пограничника А. Скулина
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж/дв-1208
Муса Джалиль в Моабитской тюрьме
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-2926
На страже северного неба
- 1965
- Canvas, oil.
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-224
Портрет летчика Александра Покрышкина, трижды Героя Советского Союза
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-170
На фронт
- .
- Художественный музей «Арт-Донбасс», Донецк
Василий Блюхер
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-79
Дважды Герой Советского Союза Маршал бронетанковых войск М. Е. Катуков
- Canvas, oil.
- Музейно-выставочный центр (г. Когалым)
- ОФ-17
Портрет ефрейтора Г.Н. Никишина
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-1478
Портрет сибирского богатыря Нестора Козина
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-615
Самая западная
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-425
Черешня
- Canvas, oil.
- The State Russian Museum
- Ж-9283
Victory
- From the Fighting Years cycle
- 1970–1972
- Canvas, oil. 200 x 150
- The State Russian Museum
- Ж-9499
Yevsei Moiseyenko’s painting manages to combine the joy of victory and the pain of loss. The movement in this original pietà ascends chorally, before grinding to a tragic halt: «When we finally won, we felt pain in all its fullness. We understood the cost of our losses … The memories of those who fell have not gone away; they continue to perturb us. Memory is our soul, our conscience … I aspired to depict heroism on a large scale, making the plastics of the figures powerful and the rhythms expressive.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 361.
Defenders of Liepaja
- 1973
- Canvas, oil. 118 х 177
- Калининградский музей изобразительных искусств
- Ж-57
Goodbye
- 1975
- Canvas, oil. 250 x 250
- The State Russian Museum
- Ж-10399
Доверие. Прием в коммунисты в партизанском крае
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-175
Однополчане
- 1975
- Canvas, oil. 130 х 98
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-4665/4
Победный май
- Paper, .
- Восточно-Казахстанский областной архитектурно-этнографический и природно-ландшафтный музей-заповедник (Усть-Каменогорск, Казахстан)
Г. К. Жуков
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-1188
Проводы на фронт, из триптиха «Вехи Страны Советов»
- Canvas, oil. 140 х 140
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- РМИИ КП-4331/1
Ожидание
- Paper, watercolours.
- Музейно-выставочный центр (г. Когалым)
- ОФ-61
В отпуске
- Canvas, oil.
- Художественный музей «Арт-Донбасс», Донецк
Присяга
- Canvas, oil.
- Симферопольский художественный музей
- Ж-1106
На станции эшелон. 1943 г.
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-743
С победой, сынки
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-238
Сыновья. Сорок первый год
- 1984
- Canvas, oil. 127 х 150
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-530
Волоколамское шоссе
- 1985
- Canvas, oil. 200 х 300
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 254
От Советского Информбюро
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-1214
Партизаны Белоруссии. Воспоминание
- Oil, canvas.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-672
Портрет Крыгина В.С. директора городской средней школы №1 города Усть-Каменогорск
- Canvas, oil.
- Восточно-Казахстанский областной архитектурно-этнографический и природно-ландшафтный музей-заповедник (Усть-Каменогорск, Казахстан)
«Ты, конёк вороной»
- Canvas, oil.
- Художественный музей «Арт-Донбасс», Донецк
Гобелен «Память прожитых лет»
- Wool, .
- Магнитогорская картинная галерея
- ДПИ-1349
Десант на Шумшу. 18 августа 1945 г.
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж-370/хх
Поединок. Памяти Д. М. Карбышева
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-2025
Скульптура «Пограничник»
- Porcelain, casting.
- Егорьевский историко-художественный музей
- КС. 1421
Портрет Х.Ч. Дачиева
- 2012
- Canvas, oil. 70 х 50
- Музей Чеченской Республики, Грозный
- 834
Якутский снайпер Софрон Бушков
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- НХМ-13113
Терновых Владимир Васильевич
Борунов Геннадий Федорович
Доронин Василий Никанорович
Симонов Игорь Иванович
Дишлер Валдис Робертович
Пушков Анатолий Сергеевич
Петров Николай Григорьевич
Артыков Владимир Аннакулиевич
Муза Евгений Иванович
Кузнецов Валерий Филиппович
Мануйлов Сергей Ильич
Бороздин Олег Александрович
Дударенко Леонид Александрович
Ниязбеков Шакен Онласынович
Штеренберг Давид Давидович
Шамилов Айнди Шамсуддинович
Лукина Марианна Михайловна
Внеземная станция
- 1950s
- Paper, watercolours, whiting, ink. 29,5 х 38,4
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Г-3035
Освоение Луны
- 1950s
- Paper, watercolours, whiting, ink. 28,9 х 36,3
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- Г-3039
Здравствуй, Земля
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1477
Чайка (Портрет В.В. Терешковой)
- Canvas, tempera.
- Ярославский художественный музей
- Ж-1033
Возвращение. Посадка «Восхода-2» на Урале
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-103
Человек с планеты «Земля»
- Canvas, tempera.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-721
Ваза «Космос»
- faience, .
- Магнитогорская картинная галерея
- ДПИ-791
В космос
- Canvas, tempera.
- Калининградский музей изобразительных искусств
- Ж-2110
Юность
- Cardboard, tempera.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-3681(б)
Из серии «Астрофизики»
- Paper, mixed media.
- Музейно-выставочный центр (г. Когалым)
- ОФ-95
Gagarin, Son of the Motherland
- 1980
- Cardboard, pastel.
- The State Russian Museum
- Ж-10850
Нивы Алтая
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-1186
Утро Алтая
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-1238
На Родине Гагарина
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-1282
На Родине
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-659
Байконур
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-2111
Портрет космонавта В. А. Джанибекова
- Copper, forging, .
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ск-159
Стартует Восток. Поехали
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-923
На новые орбиты
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-362
Гобелен «Память прожитых лет»
- Wool, .
- Магнитогорская картинная галерея
- ДПИ-1349
На мирных орбитах
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-924
Портрет первого космонавта Юрия Гагарина
- Paper, .
- Художественный музей «Арт-Донбасс», Донецк
До скорой встречи
- Canvas, oil.
- Калининградский музей изобразительных искусств
- Ж-74
Портрет Героя Советского Союза, летчика-космонавта Василия Григорьевича Лазарева
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-2762
Степанов Алексей Матвеевич
Жбанов Виктор Михайлович
Походаев Юрий Архипович
Некрасов Илларион Григорьевич
Шилов Александр Максович
Леонов Алексей Архипович
Плотнов Андрей Иванович
Жданов Владимир Андреевич
Соколов Андрей Константинович
Семисенко Виктор Пантелеевич
Красный флот - защита СССР от врагов
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1171
Чем сильнее будет мощь флота, тем прочнее станет советская власть
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1164
Youth
- 1932
- Canvas, oil. 110 х 83
- The State Russian Museum
- Ж-4418
The composition of this work relates it to the cycle of double portraits painted by Fyodor Bogorodsky in 1932, directly recreating or indirectly hinting at the subject of photography. The artist carries on indirect polemics with the increasingly popular genre of photography, demonstrating the unique possibilities of painting in the creation of an artistic image. This series of portraits opened a new stage in Fyodor Bogorodsky’s oeuvre, following a major one-man show in 1931. Sailors became the new heroes of his works. As Bogorodsky later recalled: “After the exhibition, I travelled to the Black Sea and spent six months on warships, infected by the cheerfulness and sparkling courage of the young sailors.” Youth can be regarded as the artist’s painterly tribute to his new friends.
Red Fleet Sailors
- 1934
- Canvas, pasted on cardboard, oil. 39 х 35
- The State Russian Museum
- Ж-11502
Boris Yermolaev painted an entire portrait gallery of sailors and Red Navy commanders in the first half of the 1930s. Entranced by the sea ever since he was a child, the artist combined his studies in studios of art with work as a sailor in the Commercial Port. An outstanding draughtsman, Yermolaev followed the traditions of naïve art in the 1930s, deliberately subordinating his artistic talent to this task. He worked in his studio after sketches from life, painstakingly depicting his characters whilst virtually depriving them of material reality. The condensed atmosphere of his painterly world is similar to the prose of Andrei Platonov.
Предметы из чайного сервиза «Поход Челюскина»
- 1934
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-284-289
Ленинградский порт. Лесоэкспортная механизированная гавань
- 1935
- Canvas, oil. 200 х 297
- The State Russian Museum
- Ж-4486
Морской флот - могучий страж водных рубежей
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-229
Бойцы за учебой
- Paper, lithography.
- The State Russian Museum
- С.Гр.-4944
Красное Сормово
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-134
Комсомол - шеф над Красным флотом. 75% флота - комсомол
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1394
На Сталинградский фронт
- Canvas, oil.
- Самарский областной художественный музей
- Ж-745
Проводка каравана в Белом море
- Paper, gouache.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Г-5940 АОМИИ
Нахимовец на Авроре
- 1948
- Lithography.
- The State Russian Museum
- С.Гр.-6566
Защитникам морских рубежей Советского Союза - Слава!
- Paper, .
- The State Russian Museum
- Гр.Пл.-810
Привезли продукты
- Paper, .
- Азербайджанский Национальный Музей Искусств (Баку)
- Q-1292/1 (1)
На Жигулевском море
- Canvas, oil.
- Самарский областной художественный музей
- Ж-964
Погрузка «Оби»
- 1960
- Canvas, oil. 170 х 232,4
- Калининградский музей изобразительных искусств
- Ж-567
Караван
- Canvas, tempera.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-344
В плавучем доке
- 1970
- Canvas, oil. 85,0 x 120,0
- Мурманский областной художественный музей
- Ж-97
Новый порт
- 1970
- Canvas, oil. 69 x 113
- Мурманский областной художественный музей
Ремонт колхозных судов
- Oil.
- Сахалинский областной художественный музей
- Ж-573
Рыбацкий край
- Canvas, oil.
- Приморская государственная картинная галерея (Владивосток)
- Ж-1754
Колхозные рыбаки на Преголе
- 1978
- Paper, tempera. 53 х 79
- Калининградский музей изобразительных искусств
- Ж-1542
In the Kaliningrad port
- 1979
- Canvas, oil. 114,4 х 124,8
- Калининградский музей изобразительных искусств
- Ж-561
В ремонте
- 1979
- Canvas, oil. 163 х 110
- Калининградский музей изобразительных искусств
- Ж-732
Всесоюзный день рыбака
- 1980
- Hardboard, tempera. 120 x 80
- Мурманский областной художественный музей
- КП-2203
Резерв
- Paper, .
- Музейно-выставочный центр (г. Когалым)
- ОФ-54
Ритмы Звениговского судостроительного
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-374
Рахманзаде Марал Юсиф кызы
Баранов Василий Григорьевич
Ридель Вениамин Александрович
Михайловский Владимир Михайлович
Корсаков Леонид Михайлович
Тарановский Александр Алексеевич
Всем вам, бабы, надо знать, как ребенка воспитать!
- Paper, chromolithography. 100,7 х 71,5
- The State Russian Museum
- Гр.Пл.-1305
8 марта. День организации яслей в колхозах и совхозах
- Paper, chromolithography. 104,0 х 74,0
- The State Russian Museum
- Гр.Пл.-1421
1919. Alarm
- 1934
- Canvas, oil. 169 x 138
- The State Russian Museum
- Ж-1269
This painting reflects both the real events of the siege of Petrograd by the forces of the White general Yudenich and the artist’s own personal memoirs: «I wanted to tell the tale of an episode from the terrible year of 1919.» The artist conveys the setting of a worker’s house and the state of its inhabitants, who stay up throughout the whole alarming night. The colour contrasts add tension to the painting. The artist employs the resolution to introduce significance into the genre scene, confirming without external pathos the stoicness of people when the hour of testing comes around: «I wanted … to convey the alarm of the historical scale of great experiences … I succeeded in loving the people depicted there.» Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 355.
Портрет стахановки Гладковой с дочерью
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2195
В доме отдыха. Алупка
- Canvas, oil.
- Ярославский художественный музей
- Ж-236
Мама прилетела
- 1937
- Canvas, oil. 130 × 120
- Донецкий республиканский художественный музей
- Ж-231
Премия (Донбасс)
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-589
Счастливое материнство
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 147-146ж
Портрет писателя Сергея Владимировича Михалкова с сыном
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-490
Я другой такой страны не знаю, где так вольно дышит человек!
- 1945
- Paper, . 84,4 х 57,0
- The State Russian Museum
- Гр.Пл.-392
Слава Победителям!
- Paper, chromolithography.
- The State Russian Museum
- ГрПл-2068
Вернулся
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-849
Колхозный быт
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-214
Летом
- 1949
- Canvas, oil.
- The State Russian Museum
- Ж-4406
Первоклассница
- Canvas, oil.
- Самарский областной художественный музей
- Ж-844
Быт колхозника
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-203
В новый дом
- Canvas, oil.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-254
В новую квартиру
- 1952
- Canvas, oil. 128 × 111
- Донецкий республиканский художественный музей
- Ж-333
Миру мир!
- 1953
- Paper, . 81,7 х 55,5
- The State Russian Museum
- Гр.Пл.-2100
Первенец
- 1953
- Canvas, oil. 90,0 x 120,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-139
Сбор подписей за мир
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1013
Уснул
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-412
Портрет скульптора А. Е. Зелинского с дочерью
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1105
В годы войны
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-815 АОМИИ
Family. 1945
- 1957–1964
- Canvas, oil. 175 x 254
- The State Russian Museum
- Ж-8141
The name of Victor Ivanov instantly conjures up images of courageous, wise and handsome people. These features are incarnated in the “peasant Madonna” gathering her family around the table after the post-war jubilation has died down and life has returned to normal. This patient heroine has awaited the return of her husband from the front and now sits at the head of the table. The relief-like composition and the austere silhouettes exude an air of solemnity. The rough and angular drawing, harsh forms and ringing tones create a mood of tension.
Колхозный дом. (Мирные дни)
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1460
Новоселы
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-8953
Мокшанки
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
Новая квартира
- Canvas, oil, .
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-1749
Ужин в деревне. Семья
- 1964–1969
- Canvas, oil. 208 x 275
- The State Russian Museum
- Ж-10877
Дорогой гость
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1099
Artist’s Family. The Chernyshevs
- 1969
- Wood-shavings plate , gesso, polyvinylacetate tempera. 80 х 100
- The State Russian Museum
- Ж-9193
Depicts the artist Nikolai Mikhailovich Chernyshev (1885–1973) and his wife Antonina Alexandrovna Chernysheva (born 1912).
Dmitry Zhilinsky depicts Nikolai Chernyshev, one of his teachers at the Vasily Surikov Institute of Art in Moscow, with his wife Antonina. The theme of the picture is the spiritual and the mundane, the confluence of the generations and the merging of man and nature. Zhilinsky solicitously paints the portraits of two people who have spent a long life together: “Slim and fair-haired, he is the incarnation of spirit; she is his support in life – broad, serene and beautiful.” Both the artist’s words and his image are expressive. The following generations can be seen behind the two heroes, who seem to recede into the slowly unfolding panorama of slender birch trees, houses, hills and a distant chapel – everything that was so dear to their hearts.
September on the Mezen River
- 1969–1970
- Canvas, oil. 140 x 220
- The State Russian Museum
- Ж-9282
In 1965, Viktor Popkov lived in the Arkhangelsk Region for almost a month at the Mezen River. The austere beauty of this region amazed the artist. The cold of the Russian North and harsh climate of these areas add shades of psychology to his works. Nature and people are merged.
Under the Old Apple-Tree
- 1969
- Paper, сharcoal , gesso, polyvinylacetate tempera, wood-shavings plate , sauce. Plate 202 х 140, painting 178 х 98
- The State Russian Museum
- Ж-11303
Dmitry Zhilinsky often manifested his creative aspirations in portraiture. One of the idiosyncrasies of his art was his habit of depicting in the concrete not the fleeting, but the most important element of a man’s personality. Zhilinsky preferred clear, collected and intellectual images. He was inspired by the art of the Old Masters, particularly the early Italian Renaissance and Old Russian painting. The artist openly addresses the art of the past in his modern images: «I love exactness of expression and completeness of form — in my own understanding of these words, of course.» Zhilinsky’s works are distinguished by their pure and decorative tones, melodious lines, plastic silhouettes and harmonic compositions. The artist’s painting technique was also unusual; he frequently worked in tempera on levkas, lending a colourist sublimity to his works. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 362.
Год 65-й. Семья
- Cardboard, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-255
Материнские думы
- 1969
- Canvas, oil. 210 x 250
- The State Russian Museum
- Ж-9814
Моя мама
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-875
Весна
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж 1364
Victory Day
- 1972–1975
- Canvas, oil. 199 x 187
- The State Russian Museum
- Ж-9536
Дорога
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-2988
Молодые. Свадьба
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2280
Молодые
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-76
Семья
- 1974
- Canvas, oil. 166 х 144
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 182
У колыбели
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1985 АОМИИ
Гори ясно
- Canvas, tempera, oil.
- Вологодская областная картинная галерея
- Ж-678
Июньская пора
- 1976-1977
- Canvas, oil. 203 х 233
- The State Russian Museum
- Ж-10289
В годы войны
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-1058
Золотая свадьба, из триптиха «Свадьбы»
- 1974-1983
- Hardboard, oil. 122 х 74
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-148/3
Новобрачные, из триптиха «Свадьбы»
- 1974-1983
- Hardboard, oil. 122 х 74
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-148/1
Партизанская мадонна (Минская)
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-16962
Проводы на фронт, из триптиха «Вехи Страны Советов»
- Canvas, oil. 140 х 140
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- РМИИ КП-4331/1
Семья художника
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 3243-ж
Серебряная свадьба, из триптиха «Свадьбы»
- 1974-1983
- Hardboard, oil. 122 х 74
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-148/2
Триптих «Свадьбы»
- 1974-1983
- Hardboard, oil. 122 х 74
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-148
Праздник
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-1425
5 Августа. Первый салют
- Paper, linocut.
- Белгородский государственный художественный музей
- Г-148
Корень рода (Семья)
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-917
Первенец
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-274
Бабушка и внучка
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2374
Земля и небо Устюрт
- 1983
- Canvas, oil. 160 х 100
- Музей Чеченской Республики, Грозный
- 1646
Новый год. Групповой портрет
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-2457
С победой, сынки
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-238
Семья
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж-386
Человек родился
- 1985
- Canvas, oil. 175 х 200
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5782/3
Дети тридцатых
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1845
Женщины двадцатых
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-2344
Иванов Константин Константинович
Мисюра Анатолий Антонович
Shamanov Boris
1931 – 2008Ракша Юрий Михайлович
Жидков Александр Александрович
Скобеев Валерий Николаевич
Дуйсенбаев Кенжебай
Лаврентьев Зосим Фёдорович
Савицкий Михаил Андреевич
Пашковская Марина Харутюновна
Ермолин Рем Николаевич
Широкова Инна Алексеевна
Васильев Эдуард Иосифович
Васильев Артур Дмитриевич
В Советской республике не должно быть больных и беспризорных детей! Здоровое физическое и духовно молодое поколение - верный проводник идей коммунизма!
- 1923
- Paper, chromolithography. 61,0 х 102,0
- The State Russian Museum
- Гр.Пл.-1307
Все в общество рабочий патронат "Друг детей". На борьбу с беспризорностью
- 1923 (?)
- Paper, chromolithography. 92,5 х 69,5
- The State Russian Museum
- Гр.Пл.-752
Всем вам, бабы, надо знать, как ребенка воспитать!
- Paper, chromolithography. 100,7 х 71,5
- The State Russian Museum
- Гр.Пл.-1305
Октябрина
- 1924
- Bronze. 30 x 19 x 17
- The State Russian Museum
- СО-1237
Юные ленинцы дети Ильича. К 7ой годовщине Октябрьской революции
- 1924
- Paper, chromolithography. 100 х 66,8
- The State Russian Museum
- Гр.Пл.-2330
Мы юные ленинцы
- 1925
- Paper, chromolithography. 107,3 х 71,5
- The State Russian Museum
- Гр.Пл.-382
Вступай в дошкольный поход. Строй новый быт, организуй детсады, площадки, воспитывай коммунистическую смену
- 1920s
- Paper, chromolithography. 102,5 х 70,5
- The State Russian Museum
- Гр.Пл.-862
Red City
- Canvas, oil.
- The State Russian Museum
- Ж-10326
Передвижные ясли в хлопковом поле
- Canvas, oil.
- The State Russian Museum
- ЖС-2052
Хоровод детей всех наций. [Четвертый фрагмент]
- 1929
- paper mounted on plywood, tempera, watercolours.
- The State Russian Museum
- Ж-8598
8 марта. День организации яслей в колхозах и совхозах
- Paper, chromolithography. 104,0 х 74,0
- The State Russian Museum
- Гр.Пл.-1421
Ёж - лучший журнал для пионеров и школьников. Чиж - журнал для дошкольников и октябрят
- 1930
- Paper, chromolithography. 62 х 54
- The State Russian Museum
- Гр.Пл.-639
В начальной школе (Всеобуч)
- Canvas, oil.
- Самарский областной художественный музей
- Ж-2055
Всех всеобучников в ряды октябрят. Воспитаем борцов за мировой октябрь
- 1930
- Paper, chromolithography. 105 х 74,5
- The State Russian Museum
- Гр.Пл.-817
Знай карту, как свои пять пальцев
- 1930
- Paper, . 85,0 х 59,0
- The State Russian Museum
- Гр.Пл.-944
Значок пионерский
- 1920-30s
- . 20 x 18
- The State Russian Museum
- Мед.А-9207
Лыжная вылазка
- 1930
- Paper, chromolithography. 37,2 х 52,0
- The State Russian Museum
- Гр.Пл.-1975
Мне дома скучно! А нам в яслях весело!
- 1930
- Paper, chromolithography. 51,0 х 68,0
- The State Russian Museum
- Гр.Пл.-1306
Мы требуем всеобщего обязательного обучения
- 1930
- Paper, . 106,7 х 72,5
- The State Russian Museum
- Гр.Пл.-168
Пионерка
- 1930
- Oil. 80 × 45,5
- Донецкий республиканский художественный музей
- Ж-1036
Contest of Young Modellers
- 1931
- Canvas, oil. 121 x 95
- The State Russian Museum
- ЖБ-1862
The idea of conquering space and time, key for other genres and types of Soviet art as well, became in the 1920s and 1930s extremely important in reference to works about sport. The ideological and instructional aspects of sport connected with the task of preparing physically developed people, “ready for labour and defence”, became the main focus (the legendary GTO (ready for labour and defence) pin appears in 1930, when the topic of sport is definitively confirmed as an important division of Soviet art). Sport as an integral part of preparing the Soviet individual for any difficulty becomes a leitmotif in the work of many artists, including Adlivankin.
На учебу
- 1931
- Paper, chromolithography. 51,5 х 29,3
- The State Russian Museum
- Гр.Пл.-1939
Октябрята
- 1931
- Paper, chromolithography. 37,5 х 53,6
- The State Russian Museum
- Гр.Пл.-1918
Пионеры у единоличника
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1688
Сбор металлолома
- 1931
- Paper, chromolithography. 35,2 х 51,0
- The State Russian Museum
- Гр.Пл.-1978
Пионерка с горном
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-384
Авиамоделисты
- Canvas, oil.
- Alexander Radishchev Art Museum, Saratov
- Ж-1185
Встречают челюскинцев
- 1934
- sanguine.
- The State Russian Museum
- РС-586
Девочка за партой
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-922
Пионерская линейка
- 1934
- Paper, .
- The State Russian Museum
- С.Гр.-3629
Юные натуралисты
- 1934
- Paper, .
- The State Russian Museum
- С.Гр.-3626
Юным ленинцам большевистский привет
- 1934
- Paper, chromolithography. 69,9 х 96,2
- The State Russian Museum
- Гр.Пл.-661
Пионерка
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-127
С. М. Киров с детьми
- 1930s
- Paper, , .
- The State Russian Museum
- С.Гр.-8941
Девочка-планеристка (Девочка с авиамоделями)
- 1936
- Canvas, oil.
- The State Russian Museum
- ЖС-413
Перед экзаменами
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2206
Портрет пионера – отличника учебы Вити Петрова
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-27
Портрет стахановки Гладковой с дочерью
- Canvas, oil.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-2195
Премирование
- Oil, canvas.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-440
Юная натуралистка
- 1935-1937
- Canvas, oil.
- The State Russian Museum
- ЖБ-1755
Авиамоделисты
- Canvas, oil.
- Ярославский художественный музей
- Ж-519
В доме отдыха. Алупка
- Canvas, oil.
- Ярославский художественный музей
- Ж-236
Мама прилетела
- 1937
- Canvas, oil. 130 × 120
- Донецкий республиканский художественный музей
- Ж-231
Пионеры на собрании
- Canvas, oil.
- Тамбовский областной краеведческий музей
- КП №7647
Будёныш
- 1938
- . 119 x 43 x 48
- The State Russian Museum
- СО-2911
Счастливое материнство
- Canvas, oil.
- Кыргызский национальный музей изобразительных искусств им. Г. Айтиева
- 147-146ж
"В школу"
- 1939
- Paper, .
- The State Russian Museum
- С.Гр.-9748
Мамлакат Нахангова – юная стахановка хлопковых полей
- 1937-1940
- . 44 х 26 х 23
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- С-50
Пионерка Азербайджана
- 1939
- Porcelain, . 24 x 8 x 7
- The State Russian Museum
- СО-1903
Утро испанских пионеров в летнем лагере
- 1939
- Canvas, oil. 208 x 331
- The State Russian Museum
- Ж-9199
Мастера урожаев
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-67
Почта пришла
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1146
Юные судостроители (Флотилия)
- Canvas, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-1260
Юноши и девушки города Ленина, самоотверженно трудитесь на помощь фронту!
- Paper, .
- The State Russian Museum
- Гр.Пл.-643
Награжденный медалью
- Canvas, oil.
- The State Russian Museum
- Жб-1984
Я другой такой страны не знаю, где так вольно дышит человек!
- 1945
- Paper, . 84,4 х 57,0
- The State Russian Museum
- Гр.Пл.-392
Слава Победителям!
- Paper, chromolithography.
- The State Russian Museum
- ГрПл-2068
Сталину - спасибо! 1945 г.
- 1946
- Paper, chromolithography.
- The State Russian Museum
- Гр.Пл.-1989
"Молодежь - наше будущее, наша надежда"
- 1947
- . 71 x 50 x 40
- The State Russian Museum
- СО-2136
Торжественное обещание
- 1947
- Paper, lithography.
- The State Russian Museum
- С.Гр.-3656
Трудовые резервы
- 1947
- Bronze.
- The State Russian Museum
- СО-107
"Шахматисты"
- 1948
- Paper, .
- The State Russian Museum
- С.Гр.-6695
Return (Sunny Morning)
- 1948
- Canvas, oil. 110,5 x 91,5
- The State Russian Museum
- ЖБ-1739
In keeping with the canons of Socialist Realism, the painting is built on the narrative principle, and contemporaries would have read it like an open book. On the floor is a carelessly and hastily opened suitcase, hanging on the chair back an officer’s jacket with combat medals: what we have here is a scene of a victorious hero’s return, his first morning at home. All the hardships of the Siege of Leningrad are now in the past, and the city greets its liberator with a wide, bright panorama of the Neva River through open windows. The artist’s own personal history is woven into this typical subject: she herself lived through the Siege, and her husband was an officer in the Baltic Fleet.
Нахимовец на Авроре
- 1948
- Lithography.
- The State Russian Museum
- С.Гр.-6566
Суворовцы на лыжах
- .
- The State Russian Museum
- С.Гр.-16133
Юный десантник
- 1948
- . 56,5 x 46,5 x 34,5
- The State Russian Museum
- СО/ПФ-56
И. В. Сталин с пионерами
- 1949
- Bisque.
- The State Russian Museum
- СФ-341
Игра в шахматы
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-1742
Любите Родину!
- 1949
- Paper, . 83,6 х 58,9
- The State Russian Museum
- Гр.Пл.-396
Первоклассница
- Canvas, oil.
- Самарский областной художественный музей
- Ж-844
Подарок Сталину
- 1949
- Paper, .
- The State Russian Museum
- С.Гр.-6238
У портрета вождя
- 1949
- Canvas, oil. 141 х 149
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
У токарного станка
- 1949
- .
- The State Russian Museum
- С.Гр.-3080
У фрезерного станка
- 1949
- .
- The State Russian Museum
- С.Гр.-3081
Юные мичуринцы
- 1949
- Bisque.
- The State Russian Museum
- СФ-342
В новый дом
- Canvas, oil.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-254
Слава нашей любимой Родине!
- 1950
- Paper, . 79,9 × 56,8
- Ярославский художественный музей
- Пл-186
Электричество в колхоз
- 1950
- Canvas, oil. 150 × 135,5
- Донецкий республиканский художественный музей
- Ж-403
Витя-подпасок
- 1951
- Canvas, oil.
- The State Russian Museum
- Ж-5957
В новую квартиру
- 1952
- Canvas, oil. 128 × 111
- Донецкий республиканский художественный музей
- Ж-333
На мирной земле
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-663
Павлик Морозов
- 1952
- Canvas, oil. 186 х 233
- The State Russian Museum
- Ж-6029
Пионерка с мыса Дежнева
- 1952
- Canvas, oil.
- The State Russian Museum
- Ж-6775
Фигура "Маленькая хозяйка"
- 1952
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- СФ-979
Фигура "Якутка" ("Северный цветок")
- 1952
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-458
Школьники на концерте. Дипломная работа, институт им. И. Е. Репина
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-266
In Summer. Mushrooms
- 1953–1954
- Canvas, oil. 160 x 112,5
- The State Russian Museum
- Ж-6934
Russian nature, the village, and the peasant life are constant themes in Plastov’s work. The charm of a sunny summer day, the beauty of nature, and the spiritual harmony between people who live in accordance with nature comprise the content of this painting. It has many details that speak to how close and dear this world was to the artist. You can recognise and name each mushroom and flower that the artist lovingly painted.
Группа "Первый вальс"
- 1953
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-456
Миру мир!
- 1953
- Paper, . 81,7 х 55,5
- The State Russian Museum
- Гр.Пл.-2100
Первенец
- 1953
- Canvas, oil. 90,0 x 120,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-139
Сбор подписей за мир
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1013
Зима пришла
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-1759
Композиция "Впервые"
- 1954
- Porcelain, painting over glaze, gilding.
- The State Russian Museum
- СФ-2762
Подарок
- Canvas, oil.
- Государственный художественный музей Алтайского края (Барнаул)
- Ж-267
Пришли на медосмотр
- 1954
- Canvas, oil. 75 х 101
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
У больной учительницы
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-1640
Зимние забавы
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-4177 АОМИИ
Папэлька собирается в школу
- Canvas, oil. 115,0 х 95,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-53
Ленинград в борьбе. (Дежурные МПВО)
- Canvas, oil.
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Ж-670
Лыжники
- 1956
- Paper, lithography.
- The State Russian Museum
- С.Гр.-9229
Медицинская помощь
- Paper, watercolours, gouache.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ГР-508
Дзержинский с беспризорником
- 1957
- . 41 x 17 x 16
- The State Russian Museum
- СО-2910
Уснул
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-412
День начался
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-3607
Пионерское лето
- 1958
- Canvas, oil. 70 х 149,5
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Председательница Совета отряда
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-863
Проводы в школу
- 1958
- Canvas, oil. 70,5 x 122,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
В годы войны
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-815 АОМИИ
Детвора
- 1958-1960
- Canvas, oil. 121 х 200
- The State Russian Museum
- Ж-7656
Колхозные ясли
- 1957-1960
- Canvas, oil. 140 х 200
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
В детском саду
- Canvas, oil.
- Белгородский государственный художественный музей
- Ж-220
Гости. День рождения
- 1960
- Canvas, oil.
- The State Russian Museum
- Ж-7864
Гроза прошла
- 1960–1961
- Canvas, oil. 170 x 267
- The State Russian Museum
- Ж-8140
Колхозный дом. (Мирные дни)
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-1460
Портрет матери-героини Веры Петровны Пакетовой с детьми
- Canvas, oil.
- Тверская областная картинная галерея
- Ж-2002
Аленкины друзья. Картина
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-395
Будущий космонавт
- Canvas, oil.
- Астраханская государственная картинная галерея им. П. М. Догадина
- Ж-819
Алты бакан
- Paper, watercolours.
- Восточно-Казахстанский областной архитектурно-этнографический и природно-ландшафтный музей-заповедник (Усть-Каменогорск, Казахстан)
Девочка с арбузом
- 1963
- Canvas, oil.
- The State Russian Museum
- Ж-8343
В музыкальную школу
- Canvas, oil.
- Самарский областной художественный музей
- Ж-1100
Вечер в тундре
- 1964
- Canvas, oil. 170 х 275
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Девочка с книгой
- 1964
- . 17 x 11,9 x 2,7
- The State Russian Museum
- СО-2537
Династия мараловодов Поповых
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-1291
Новая квартира
- Canvas, oil, .
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж-1749
В первые годы Советской власти
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1658
Пора безоблачного неба
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1355 АОМИИ
1 сентября
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-1010
Галя
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-156
Хозяева земли
- Oil, canvas.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1659
Дети
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-2568
Юные пионеры
- Canvas, oil.
- Национальный музей Таджикистана, Душанбе
- Ж 1189
Байрам (Праздник)
- plywood, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-1943
Донбасс
- 1972–1973
- Oil. 120 × 150
- Донецкий республиканский художественный музей
- Ж-1611
Дорога
- Canvas, oil.
- Государственный музей изобразительных искусств Республики Татарстан (Казань)
- Ж-2988
Пионерское лето
- 1972
- Paper, .
- The State Russian Museum
- С.Гр.-17045
У вечного огня
- 1970-1974
- Canvas, tempera, lacquer. 164 х 231
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-602
Мой дом
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-13959
Семья
- 1974
- Canvas, oil. 166 х 144
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 182
Хозяйка фермы
- Canvas, oil.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Ж-101
В школу
- Cardboard, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-1078
Возле старых сараев
- 1975
- Canvas, oil. 140 x 150
- The State Russian Museum
- Ж-9347
Дети идут в школу
- 1970s
- Paper, etching, .
- The State Russian Museum
- С.Гр.-17759
Детский сад
- 1970s
- Paper, etching, .
- The State Russian Museum
- С.Гр.-17758
У колыбели
- Canvas, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1985 АОМИИ
Я еду в школу
- 1970s
- Paper, .
- The State Russian Museum
- С.Гр.-17760
Гори ясно
- Canvas, tempera, oil.
- Вологодская областная картинная галерея
- Ж-678
Женщины Кызыл-Мааны
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-989
Зажгли ёлку
- Mounted on wood, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1370
Создатели Магнитки
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж/xx-944
Солнечный день
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-133
8 марта
- 1978
- Canvas, oil. 58,0 x 67,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-151
В годы войны
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-1058
Партизанская мадонна (Минская)
- Canvas, oil.
- Национальный художественный музей Республики Беларусь, Минск
- КП-16962
Проводы на фронт, из триптиха «Вехи Страны Советов»
- Canvas, oil. 140 х 140
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- РМИИ КП-4331/1
Программа «Время»
- Paper, linocut.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- Г-68
Юность
- Cardboard, tempera.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- Ж-3681(б)
Праздник
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-1425
5 Августа. Первый салют
- Paper, linocut.
- Белгородский государственный художественный музей
- Г-148
Земля и небо Устюрт
- 1983
- Canvas, oil. 160 х 100
- Музей Чеченской Республики, Грозный
- 1646
Знатные чабаны Баймена
- 1983
- Canvas, oil. 91 х 101
- Атырауский областной музей художественного и прикладного искусства имени Шаймардана Сариева
- инв. № нқ 2-1746
Дети войны. 1943 г.
- Canvas, oil.
- Череповецкое музейное объединение
- Ж-740
Дети тундры
- 1984
- Paper, , wood, plywood, . 60,3 х 64,7
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
Новый год. Групповой портрет
- Canvas, oil.
- Вятский художественный музей имени В. М. и А. М. Васнецовых, Киров
- Ж-2457
Быховские бахчеводы
- 1985
- Canvas, oil. 164 х 241
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5782/2
Выставка в клубе
- Paper, watercolours.
- Музейно-выставочный центр (г. Когалым)
- ОФ-1645
Люди Памира
- 1985
- Canvas, oil. 200 х 160
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5782/9
Человек родился
- 1985
- Canvas, oil. 175 х 200
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5782/3
Дети тридцатых
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1845
«Детский дом. Новенькие»
- Canvas, oil.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ЖВ-355
«Достояние республики. Год 1921»
- Canvas, oil.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ЖВ-356
В северной школе
- Canvas, oil.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ЖВ-29
Сестры
- 1988
- Canvas, oil. 100 х 118,5
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 518
Айтыс
- Paper, tempera, gouache.
- Восточно-Казахстанский областной архитектурно-этнографический и природно-ландшафтный музей-заповедник (Усть-Каменогорск, Казахстан)
Богданова Ольга Михайловна
Велихова (Баскакова, Боскакова) Софья Борисовна
Христолюбов Николай Павлович
Шурпин Федор Саввич
Киселев Анатолий Александрович
Мельниченко Владимир Владимирович
Сараев Владимир Васильевич
Горбунов Борис Иванович
Муцениеце Зента Мартыновна
Богаевская Ольга Борисовна
Воробьёва Надежда Дмитриевна
Прокопенко Алексей Андреевич
Дёмина Клавдия Петровна
Шевандронова Ирина Васильевна
Зарипов Ильдар Касимович
Сумарев Василий Федорович
Внодченко Юрий Федорович
Бутрова Мария Николаевна
Добровольский Виктор Николаевич
Мясников Игорь Петрович
Абуов Турсын
Жабский Алексей Александрович
Рябоконь Григорий Анисимович
Фролов Юрий Леонидович
Ивасенко Анатолий Александрович
Игловиков Владимир Георгиевич
Меркасимов Габдулмади Г.
Vladimir Lenin. At the Red Square
- 1924
- Paper, watercolours. 40 х 60,5
- The State Russian Museum
- РС-19706
Портрет В. И. Ленина
- 1924
- Canvas, oil. 97,1 х 80,3
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-37
Портрет В. И. Ленина
- Cardboard, oil.
- ГМО «Художественная культура Русского Севера» (Архангельск)
- Ж-1347 АОМИИ
Эскиз плаката «К победе нас привел ленинизм»
- 1926
- Paper, gouache. 13,2 x 8,5
- The State Russian Museum
- РС-6305
First Appearance of Vladimir Lenin at the Petrosovet Meeting at Smolny on 25 October 1917
- 1927
- Canvas, oil. 132 x 191
- The State Russian Museum
- ЖС-1981
The painting was created for the 10th anniversary of the October Revolution. On the rostrum is Vladimir Lenin, on the dais his comrades-in-arms: Vladimir Antonov-Ovseyenko, Lev Ka me - nev, Vladimir Milyutin, Nikolai Podvoisky, Leon Trotsky, Georgy Oppokov (Lomov), Alexei Rykov and Lev Karakhan. Painted after Lenin’s death in 1924, the work was devoted to the theme of his popularity among the revolutionary-minded public.
Lenin on the Rostrum
- 1927
- Canvas, oil. 71,2 x 54
- The State Russian Museum
- ЖС-729
Isaac Brodsky created an extensive gallery of Vladimir Lenin images from both memory and live sketches. The artist witnessed Lenin speaking at meetings in 1918 and painted him at the sessions of the 2nd Comintern Congress in 1920. Many of Brodsky’s Lenin portraits were copied by artists repeatedly and mechanically reproduced millions of times, but this particular painting was regarded as unsuccessful and unknown to the wider public. The figure’s expressive pose seemed overly photographic to contemporaries and its contrast with the large sky mass and stylized cloud patterns unfavourable for the leader’s image, recalling the works of the Symbolists. However, it’s these very “mistakes” by the artist that raise the painting out of the realm of canonical clichés, lending it an ambiguity that’s interesting for modern viewers.
Ленин в Смольном
- Canvas, oil.
- Самарский областной художественный музей
- Ж-453
Joseph Stalin at Sergei Kirov’s Coffin
- 1934
- Canvas, oil. 271 x 208
- The State Russian Museum
- Ж-4490
In 1934 Rutkovsky headed a team of artists engaged in decorating the Beloostrov train station, the opening of which on 4 December was to be attended by Kirov, who followed the artists’ progress with interest, even helping them obtain hard-to-get paints for their work. However, Kirov was murdered in the halls of Smolny on 1 December. Many Soviet artists reacted with sadness to his death. In this hastily created painting Rutkovsky depicted the myth of the Soviet head of state’s leave-taking with the deceased. It’s unlikely that the artist knew of the rumors that soon appeared regarding possible political motives behind Kirov’s murder. He simply expressed a feeling of solemn grief, underscoring the great significance of the event. Pure red in contrast with white and black defines the somber resonance of this painting built on a strict rhythm of horizontals and verticals. The canvas is both a document of its age and a typical Socialist Realist work in which myth is transformed into reality through artistic mastery.
Portrait of Joseph Stalin
- 1936
- Canvas, oil. 99 х 67
- The State Russian Museum
- Ж-9590
Vladimir Lenin at the Second Congress of Soviets Among Peasant Delegates
- 1935–1936
- Canvas, oil. 236 х 186
- The State Russian Museum
- Ж-6149
Gerasimov’s painting depicts the historical congress that ratified the Decrees on Peace and Land and proclaimed the transfer of all power in the country to the Soviets of Workers’ and Peasants’ Deputies. Lenin talks with the delegates about the transfer of landed estates to the peasantry. The event’s significance is expressed by the deep seriousness with which the peasants hearken to Lenin’s words. The muted colours of the sheepskin coats, soldiers’ overcoats and sailors’ pea jackets resonate with a unique virile harmony in the Smolny Institute’s enormous bright assembly hall.
Leader, Teacher and Friend (Joseph Stalin at the Presidium of the Second Congress of Collective Farm Shock Workers in February 1935)
- 1936–1937
- Canvas, oil. 340 x 260
- The State Russian Museum
- Ж-5613
The painting was exhibited for the first time at the grandiose Industry of Socialism exhibition held concurrently with the 18th Bolshevik Party Congress. The event it depicts is the Second Congress of Collective Farm Shock Workers of February 1935, which ratified the Rules of the Agricultural Artel and proclaimed “socialism’s complete victory in the countryside”. The artist depicted a real episode that took place at that congress, as reported by the press: Stalin visits as one among equals with ordinary collective farm worker Ev do kia Fedotova, head of the machine and tractor station at the Renewal Collective Farm in Lenin grad Region. Fedotova, also immortalized in a portrait by Sofya Dymshits-Tolstaya (illus. 14), chaired the session on that day. On the rostrum is the cotton shock worker Tashlanova from Uzbekistan. Her figure in colourful national attire, along with those of a young Turkmen woman in a white scarf and Uzbek party leader Aga Yusup Aliev, which frame the composition, are the artist’s tribute to a favourite theme: Shegal worked much and with great enthusiasm during field trips to the Soviet Union’s Central Asian republics, and in this way he enriched his painting’s subject with the theme of friendship among nations. The prominence of female images in the work is also no accident, as female agricultural shock workers made up a record number of the congress’ delegates. Thus the artist documents the country’s progress on the path to women’s equality. Critics noted a certain monotony in the treatment of the composition’s upper region, which is occupied by a flat wall. Yet it is here that we find a sculptural image of Vladimir Lenin looming over the events occurring below. This element of the hall’s interior allowed the artist to denote the Soviet state founder’s unseen presence at the congress using realistic means. Lenin’s dominant place in this large-scale painting prompted contemporaries to speculate on the distribution of roles in the triune formula “Leader".
В. И. Ленин и И. В. Сталин в Горках в 1923 году
- 1938
- Canvas, oil. 101 x 75,5
- The State Russian Museum
- Ж-6144
Portrait of Vladimir Lenin
- 1939
- Lithography. 44 х 29
- The State Russian Museum
- С.Гр.-1015
Joseph Stalin and Kliment Voroshilov in the Kremlin
- 1940
- Canvas, oil. 147 x 190
- The State Russian Museum
- ЖБ-2072
This work is a vivid example of the personality cult in Soviet art. The depiction of Stalin and People’s Commissar of Defence Voroshilov strolling near the Kremlin walls symbolized the preparedness of army and government to defend the country. The leaders rise above a spacious panorama of Moscow in a manner likening them to the bogatyrs of Russian fairy tales and legends. Originally entitled Guardians of Peace, the painting became widely known and was copied and reproduced many times. This copy created by Yury Vasilyev from Alexander Gerasimov’s original painting (1938, Tretiakov Gallery) is smaller than the original, but its reverse side bears Gerasimov’s signed certificate and approval.
Появление В. И. Ленина на II Всероссийском съезде Советов
- 1940
- Canvas, oil. 385 х 355
- The State Russian Museum
- Жб-1947
В. И. Ленин и М. А. Горький в Горках
- Canvas, oil.
- Самарский областной художественный музей
- Ж-470
Сталин у постели больного М. Горького
- 1943
- Canvas, oil. 71,5 х 90
- The State Russian Museum
- Ж-5607
Портрет И. В. Сталина
- Canvas, oil.
- Нижнетагильский музей изобразительных искусств
- Ж-144
At the Crimea Conference
- 1945
- Canvas, oil. 74,5 x 120
- The State Russian Museum
- Ж-5962
The meeting between the leaders of the three great powers — Britain, the USSR and the USA — that took place on 4–11 February 1945 at the Livadia Palace in Yalta, otherwise known as the Crimean Conference. When it was held, fighting was already underway within Germany, and the matter of postwar restructuring was one of the items on the agenda. The three countries were represented by Chairman of the Council of People’s Commissars of the USSR Joseph Stalin, British Prime Minister Winston Churchill, and US President Franklin D. Roosevelt.
Крымская конференция / На Крымской конференции руководителей трех великих держав
- Bronze.
- The State Russian Museum
- СО/ПФ-69
"Молодежь - наше будущее, наша надежда"
- 1947
- . 71 x 50 x 40
- The State Russian Museum
- СО-2136
Ленин на Ямале
- Canvas, oil.
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ЖВ-95
Portrait of Joseph Stalin
- 1947–1948
- Canvas, oil. 114,5 x 92
- The State Russian Museum
- Ж-5599
In the 1930s the regime officially designated the ideological-creative task of producing images of socialism’s “brilliant creators” Lenin and Stalin and their closest associates. To meet these demands, totalitarian art was transformed into a leading instrument for the creation of the leader cult. The elaborate iconography of Lenin and Stalin images in Soviet art is rivaled only by that of Christ and the highest-ranking saints in Christian art, and it was organized along roughly the same lines, beginning with childhood, going through various embodiments and hypostases and ending with eternal existence in the afterlife. This process of sacralization of power unfolded quietly but quickly, reaching its apogee in 1949, when in honour of Stalin’s 70th birthday a plethora of frankly adulatory works were created and shown at the exhibition Joseph Vissarionovich Stalin in the Fine Arts.
Vladimir Lenin
- 1948
- . 109 x 45 x 45
- The State Russian Museum
- СО-263
Sergei Merkurov is known in the history of Soviet sculpture as the unrivaled master of Lenin’s image. He was one of the first monument sculptors to regularly receive state commissions for statues of Lenin and Stalin, many of which have not survived. He was responsible for a huge number of these monuments. Art experts of the time noted with veneration the “Assyro-Babylonian” power of his monuments.
Орденская коробочка
- 1948
- Bone, velvet, carving.
- The State Russian Museum
- Рк-189/аб
For the Happiness of the People (Session of the Politburo of the Central Committee of the All-Union Communist Party (Bolsheviks))
- 1949
- Canvas, oil. 280 х 380
- The State Russian Museum
- Ж-4408
Painted in celebration of Stalin’s 70th birthday in 1949, this work was shown at two major exhibitions: the All-Union Exhibition of Art and Joseph Vissarionovich Stalin in the Fine Arts. However, the character of the leader’s portrayal departs fundamentally from that of other formal paintings of the time. The dictator is shown with other members of the Politburo — Vyacheslav Molotov, Nikolai Shvernik, Nikolai Bulganin, Anastas Mikoyan, Nikita Khrushchev, Andrei Andreyev, Alexei Kosygin, Kliment Voroshilov, Georgy Malenkov and Lazar Kaganovich — discussing the planting of future forests “for the happiness of the people”. Although dressed in a marshal’s uniform with the star of a Hero of the Soviet Union, Stalin is intended to look like a simple and accessible man of the people. Stalin’s “simplicity” was also a principal and important element in the formation of his iconography. Although the Communist Party laid down specific guidelines regarding the ideological content of works of art, Soviet painters also learnt to adapt themselves to political changes. After the rejection of Stalin’s cult of personality and the death of Lavrenty Beria, Dmitry Nalbandyan painted over the latter’s figure, forming a logical compositional break between Andreyev and Kosygin.
Maxim Gorky Reading His Tale Death and the Maiden to Joseph Stalin, Vyacheslav Molotov and Kliment Voroshilov
- 1949
- Canvas, oil. 194 x 220
- The State Russian Museum
- Ж-5609
The main idea behind Maxim Gorky’s philosophical tale is that love is stronger than death, yet love and death are inseparable.
The artist made several copies of the painting (Tretyakov Gallery, Kliment Voroshilov Naval Academy, Maxim Gorky Museum of the Russian Academy of Sciences).
Portrait of Joseph Stalin
- 1949
- Canvas, oil. 200,7 х 103,5
- The State Russian Museum
- Ж-5881
The Great Oath (Joseph Stalin’s Speech at the Second All-Union Congress of Soviets on 26 January 1924)
- 1949
- Canvas, oil. 235 x 175
- The State Russian Museum
- Ж-4407
Reshetnikov’s painting was among those first shown at the exhibition Joseph Vissarionovich Stalin in the Fine Arts. The treatment of this theme — the continuity of Stalin’s ideas with those of Lenin — was very typical for Soviet mythology, in which historical myths often acquired the significance of real events. In this case the depicted event actually took place. The Second USSR Congress of Soviets, known as the one at which the Soviet constitution was ratified, was held in the Bolshoi Theatre from 26 to 31 January 1924. At the congress Stalin delivered a speech devoted to Lenin’s death, known to historians as the “Great Oath”. The establishment of Stalin’s personality cult began with this speech, so it’s not surprising that the event found such a monumental embodiment on canvas in 1949. Proclaiming himself Lenin’s successor despite Lenin’s 1922 testament, which was sacrilege in and of itself, Stalin needed to establish his right to that title at all costs. And just as that right was established in life in the 1920s and 30s, so it was in art in the 1940s. The triumphant colouration, the golden rays of light “raining down from the heavens” and the contrast of the leader’s towering figure with the crowd in the background help convey the idea of the uniqueness and monumental greatness of a man who in reality could boast of neither height, athletic build nor physical beauty.
И. В. Сталин с пионерами
- 1949
- Bisque.
- The State Russian Museum
- СФ-341
У портрета вождя
- 1949
- Canvas, oil. 141 х 149
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Glory to the Great Stalin!
- 1950
- Canvas, oil. 351 х 525
- The State Russian Museum
- Ж-5872
The compositional and coloristic structure of the painting created by a team of authors (Yu. P. Kugach, V. K. Nechitailo, V. G. Tsyplakov) to the All-Union Art Exhibition of 1950, completely subordinated to the idea of presenting the leader of the state as the inspirer and organizer of the greatest victories. The grand staircase leading up, the hands of the applauding crowd, the open doors symbolizing a breakthrough into infinity, and the successfully staged lighting convey the jubilant mood of those present in the best possible way. Stalin appears in a shining halo, like a celestial descended to the crowd, close and inaccessible at the same time.
In the immediate environment of the leader are prominent members of the party and government (N. A. Bulganin, A. I. Mikoyan, A. A. Andreev, L. P. Beria, V. M. Molotov, A. N. Kosygin and others), famous military leaders and pilots (K. E. Voroshilov, I. N. Kozhedub, A. I. Pokryshkin), leaders production (A. G. Stakhanov), as well as prominent scientists — President of the USSR Academy of Sciences physicist S. I. Vavilov and Director of the Institute of Genetics of the USSR Academy of Sciences T. D. Lysenko. This "meeting" of academicians Vavilov and Lysenko (pictured on the left, behind the railing of the stairs) is one of the many paradoxes of Stalin's time. It is known that Sergey Vavilov's brother Nikolai, a prominent geneticist, founder and director of the Institute of Genetics, was arrested in 1940 with the help of Trofim Lysenko, who began the fight against classical genetics, and died in prison in 1943. Lysenko, after his arrest, headed the Institute and completed the destruction of genetics. Next on the canvas are representatives of numerous peoples inhabiting the Soviet Union, children and typical representatives of the masses. Thus, the ideologeme "man — crowd — leader" finds its canonical embodiment here. // Alice Lyubimova. Electronic catalog "Heroes and Villains of Russian History". St. Petersburg, 2010. p. 476.
In the Name of Peace (The Signing of the Treaty of Friendship, Union and Mutual Assistance Between the Soviet Union and the People’s Republic of China)
- 1950
- Canvas, oil. 271 x 400
- The State Russian Museum
- Ж-5952
The Soviet Union was the first country to establish official diplomatic ties with the newly-proclaimed People’s Republic of China in 1949. In Moscow on 14 February 1950, the USSR and the People’s Republic of China signed a 30-year contract on friendship, union and mutual assistance. Showing unprecedented loyalty to China and ceding many of the USSR’s claims in Chinese territory, Stalin was acting in the strategic interests of strengthening the USSR’s “everlasting and indestructible friendship” with its far-eastern neighbour. Depicted in the painting are Soviet and Chinese public figures including Guo Moruo, Mao Zedong and Zhou Enlai.
The USSR Is the World’s Bastion of Peace
- Fragment of The Struggle for Peace composition
- 1950
- Bronze. 117 х 116 х 55
- The State Russian Museum
- СО-ПФ-109
In the first postwar years, when Manizer and his team of sculptors created this large, seven-part composition, the theme of the struggle for peace in a world divided into two social systems was especially relevant. Executed in a highly detailed and realistic manner in tune with the spirit of the times, this composition tells of various manifestations of peaceful life and the struggle against war. Each part is furnished with a descriptive title (for example, “American projectiles in the water” or “He writes the word ‘Peace’”) and carries an ideological message, functioning in essence as a sculptural poster on the anti-war theme. The fragment on display is the composition’s central part, where Stalin’s figure surrounded by ordinary folk symbolizes “the world’s bastion of peace”.
И. В. Сталин на крейсере «Молотов»
- Canvas, oil.
- Луганский художественный музей
Молотов в Якутске
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-338
Скульптура В. И. Ленина в парке клуба имени Г. Конина
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 319
И. В. Сталин и Мао Цзэдун
- 1952
- Canvas, oil. 168 х 240
- Ростовский областной музей изобразительных искусств, Ростов-на-Дону
Последнее выступление В. И. Ленина на Пленуме Московского совета 20 ноября 1922 год
- До 1953
- Canvas, oil. 160 х 205
- The State Russian Museum
- ЖБ-2012
Сталин среди народа в Кремле (Наш мудрый вождь, учитель дорогой)
- 1952
- Canvas, oil. 410 х 530
- The State Russian Museum
- Ж-7469
Ленин в Третьяковской галерее
- 1957
- Canvas, oil. 97 х 88
- Музей изобразительных искусств Республики Карелия (Петрозаводск)
- ЖК-46
В. И. Ленин с крестьянами
- 1960
- Canvas, oil. 198,5 x 299
- The State Russian Museum
- Ж-8045
23 января 1924. Горки
- 1964
- Canvas, oil. 315 х 224
- The State Russian Museum
- Ж-8289
Солдаты революции
- 1964–1965
- Canvas, oil. 291 х 592
- The State Russian Museum
- Ж-8134
Значок пионерский
- 1960-70s
- Enamel. 24 x 21
- The State Russian Museum
- Мед.А-9209
Иллюстрация к поэме В. Маяковского «В. И. Ленин», л.3.
- Paper, .
- Удмуртский республиканский музей изобразительных искусств, Ижевск
- Г-1067
Ленин в Горках
- Canvas, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-92
Ленин с нами
- Paper, .
- Ямало-Ненецкий окружной музейно-выставочный комплекс им. И. С. Шемановского, Салехард
- ГР-347
Президиум Советов
- 1970–1972
- Canvas, oil. 201 × 262
- Донецкий республиканский художественный музей
- Ж-1149
Дни Октября
- Linocut.
- Музейно-выставочный центр (г. Когалым)
- ОФ-28
Conversation.
- 1980–1985
- Canvas, oil. 150 x 200
- The State Russian Museum
- Ж-11601
Unlike the majority of works on the Lenin theme, Helium Korzhev’s Conversation does not show the Soviet leader speaking from a rostrum or listening attentively to callers. This work depicts a dialogue between the former revolutionary and a blind old man outside a church in Moscow. Painted with autobiographical features, the unseeing old man is perceived as a prophet or sage. His figure is momentous and majestic. The content of the dialogue is the quest for the sincere, the innermost, the significant. The fragmentary composition confines the two men to a cramped space, concentrating attention on their outer appearances and states of mind. Despite the outward calm, the painting is filled with dramatic tension. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 361.
Гаев Геннадий Петрович
Лопухов Александр Михайлович
Рязанов Юрий Филиппович
Днепрострой
- 1931–1932
- Canvas, oil. 49 × 111
- Донецкий республиканский художественный музей
- Ж-216
Магнитострой
- Canvas, oil.
- Магнитогорская картинная галерея
- Ж-120
Строительство новой улицы в Ереване
- 1931
- Canvas, oil, tempera. 99 х 120
- The State Russian Museum
- Ж-9339
В метро
- Canvas, oil.
- Ярославский художественный музей
- Ж-1488
Москва. Советская площадь
- 1935
- Canvas, oil. 105,5 × 137,5
- Донецкий республиканский художественный музей
- Ж-21
Новые улицы
- 1935
- Canvas, oil. 55 × 65
- Донецкий республиканский художественный музей
- Ж-1602
Строительство школы
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-1010
Чемальская гидростанция
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-194
Москва. 1937 год.
- Canvas, oil.
- Смоленский государственный музей-заповедник
Егорьевский клуб имени Г. Конина
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 221
Москва строится
- Canvas, oil.
- Луганский художественный музей
На катке
- Canvas, oil.
- Национальный художественный музей Республики Саха (Якутия)
- Ж-497
Москва
- Canvas, oil.
- Ilya Mashkov Museum of Fine Arts, Volgograd
- СЖ-22
Новостройки Алма-Аты
- Canvas, oil.
- Государственный музей искусств Республики Казахстан им. А. Кастеева, Алматы
- 4713-гр
Утренний Баку
- Canvas, oil.
- Сахалинский областной художественный музей
- Ж-80
Красный дом (г.Нарьян-Мар)
- 1959
- Cardboard, oil. 33,5 х 39,0
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-27
Уголок Караганды
- 1960
- Canvas, oil. 40,8 х 84
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 1348
Мурманск обновляется
- 1963
- Canvas, oil. 60 x 80
- Мурманский областной художественный музей
Новостройки Егорьевска
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 519
У кольца шинного завода
- Canvas, oil.
- Ярославский художественный музей
- Ж-1014
Строительство школы в г. Горно-Алтайске
- Cardboard, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Гр-837
Старое и новое. Южно-Сахалинск строится
- Oil.
- Сахалинский областной художественный музей
- Ж/дв-1155
Улица Металлургов в Череповце
- Canvas, oil.
- Череповецкое музейное объединение
- ЧерМО-4271
Новая Калуга
- Canvas, oil.
- Калужский музей изобразительных искусств
- Ж-1286
Омск. Первомай
- Paper, tempera, pastel.
- Омский областной музей изобразительных искусств имени М. А. Врубеля
- Ж-882
Вологда послевоенная
- Canvas, oil.
- Вологодская областная картинная галерея
- Ж-1708
Нижневартовск
- Cardboard, oil.
- Ирбитский государственный музей изобразительных искусств
- Ж-508
Москва праздничная
- Canvas, oil.
- The State Russian Museum
- Ж-10397
Москва трудовая
- Canvas, oil.
- The State Russian Museum
- Ж-10311
Мурманск слушает
- 1976
- Paper, lithography. 49,0 х 63,0. 59,5 х 75,0
- Мурманский областной художественный музей
- КП-3793
Пришахтный поселок
- 1976
- Canvas, oil. 56 х 119
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 5
Колхозные рыбаки на Преголе
- 1978
- Paper, tempera. 53 х 79
- Калининградский музей изобразительных искусств
- Ж-1542
Улица Мира
- paper mounted on cardboard, oil.
- Краснодарский краевой художественный музей имени Ф. А. Коваленко
- Ж-1629
In the Kaliningrad port
- 1979
- Canvas, oil. 114,4 х 124,8
- Калининградский музей изобразительных искусств
- Ж-561
Новостройка Хакасии – ТЭЦ
- 1980
- Canvas, oil. 70 х 110
- Хакасский национальный краеведческий музей имени Л. Р. Кызласова, Абакан
- ХНКМ КП-5130/23
Новый микрорайон
- Canvas, oil.
- Национальная галерея Республики Коми, Сыктывкар
- Ж972
Первенец Алтая (Чемальская ГЭС)
- Canvas, oil.
- Национальный музей им. А.В.Анохина, Горно-Алтайск
- Ж-565
Улица Коммунистическая
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж 1279
Эстакадный мост
- 1981
- Paper, . 41,9 х 48,9
- Калининградский музей изобразительных искусств
- Г-2411
Индустриальный пейзаж
- Canvas, oil.
- Карагандинский областной музей изобразительного искусства, Республика Казахстан
- ИНВ 310
Город Нарьян-Мар
- 1985
- Canvas, oil. 54,8 x 147,3
- Музейное объединение Ненецкого автономного округа, Нарьян-Мар
- Ж-52
Мирная Москва
- Canvas, oil.
- Егорьевский историко-художественный музей
- Ж 496
Трудовой Саранск
- Canvas, oil.
- Мордовский республиканский музей изобразительных искусств им. С. Д. Эрьзи (Саранск)
- Ж 1812
Панно «Когалым»
- Carving.
- Музейно-выставочный центр (г. Когалым)
- ОФ-30
Гилевский Гилярий Грацианович
Алексеев Валентин Алексеевич
Крюков Александр Григорьевич
Новотельнов Федор Вячеславович
Чевалков Мирослав Павлович
Попов Иван Васильевич
Абрамов Юрий (Георгий) Дмитриевич
Барилкис Гидонас Лейбович
Воробьев Константин Анатольевич
Браговский Эдуард Георгиевич
Анциферов Георгий Васильевич
Шагаев Николай Васильевич
Якуторов Владимир Фёдорович
Шевченко Адольф Александрович
Есиркеев Куаныш Раймкулович
Валейская Нина Васильевна
Коровкин Анатолий Матвеевич
Логвиненко Александр Юрьевич
Kettle with lid
- Porcelain.
- The State Russian Museum
- Сф-1344 а,б
Сервиз с супрематической росписью
- 1923
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-13-18
Чашка (получашка) «Супрематизм»
- 1923
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-27
Чернильница с крышкой «Супрематизм с „планитом“»
- 1923-1924
- Porcelain, painting over glaze. 12,7 х 16 х 14,1
- The State Russian Museum
- СФ-29
Design for the Decoration of Uritsky Square in Petrograd on the First Anniversary of the October Revolution
- plywood, oil.
- The State Russian Museum
- ЖС-576
Nathan Altman was commissioned to design the festive decorations for Uritsky (Palace) Square. The artist set himself the task of altering the entire outward appearance of the square, contrasting the beauty of the victorious people to the beauty of Imperial Russia. According to the principle of contrast, the angular, uneasy and brightly painted planes of the building the artist covered in red constructions, which served as a background for all of Petrograd s holiday decorations.
Курорт
- 1924
- Canvas, gouache. 107 x 71
- The State Russian Museum
- ЖС-1836
Орден Боевого Красного Знамени
- 1924
- Silver, enamel, .
- The State Russian Museum
- Мед.А-4434
Эскиз мозаичной плиты с изображением серпа и молота
- 1924
- Paper, watercolours, ink, bronze. 19,7 x 17,3
- The State Russian Museum
- РС-6306
«Поднимай производство!»
- plywood, tempera, . 73 x 103
- The State Russian Museum
- ЖС-1837
Фигура милиционерки
- 1920
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-118
Группа «10 лет Красной Армии»
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-137
Орден Красной Звезды
- 1930
- Silver, enamel.
- The State Russian Museum
- Мед.А-3766
Орден Ленина
- 1930
- Gold, silver, enamel, .
- The State Russian Museum
- Мед.А-4566
Сервиз «Тракторный»
- 1932
- Porcelain, painting over glaze.
- The State Russian Museum
- СФ-19-24
Предметы из чайного сервиза «Поход Челюскина»
- 1934
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-284-289
Знак нагрудный "Юный Ворошиловский стрелок"
- 1930-40s
- Bronze, enamel. 32 x 26
- The State Russian Museum
- Мед.А-20815
Чернильница «Учеба»
- 1935
- Porcelain, painting over glaze, gilding, .
- The State Russian Museum
- СФ-60/а,б,в
Билет Государственного Банка СССР, достоинством в 1 червонец
- 1937
- .
- The State Russian Museum
- Бум.А-6988
Билет Государственного Банка СССР, достоинством в 10 червонцев
- 1937
- .
- The State Russian Museum
- Бум.А-3286
Билет Государственного Банка СССР, достоинством в 3 червонца
- 1937
- .
- The State Russian Museum
- Бум.А-6989
Билет Государственного Банка СССР, достоинством в 5 червонцев
- 1937
- .
- The State Russian Museum
- Бум.А-6990
Государственный казначейский билет СССР, достоинством в 3 рубля. 1938
- 1938
- .
- The State Russian Museum
- Бум.А-3289
Государственный казначейский билет СССР, достоинством в 5 рублей
- 1938
- .
- The State Russian Museum
- Бум.А-3290
Государственный казначейский билет, достоинством в 1 рубль
- 1938
- .
- The State Russian Museum
- Бум.А-262
Медаль «За боевые заслуги»
- 1938
- Silver, enamel, .
- The State Russian Museum
- Мед.А-3392
Медаль «За отвагу»
- 1938
- Silver, enamel, .
- The State Russian Museum
- Мед.А-4430
Знак нагрудный «Отличник РККА»
- 1939
- Bronze, enamel.
- The State Russian Museum
- Мед.А-3624
Медаль «Золотая Звезда» Героя Советского Союза
- 1939
- Gold, .
- The State Russian Museum
- Мед.А-20890
Знак нагрудный «Гвардия»
- 1942
- Bronze, enamel.
- The State Russian Museum
- Мед.А-4457
Знак нагрудный «Отличный артиллерист»
- 1942
- Brass, enamel.
- The State Russian Museum
- Мед.А-3807
Знак нагрудный «Отличный танкист»
- 1942
- Brass, enamel.
- The State Russian Museum
- Мед.А-4589
Знак нагрудный «Снайпер»
- 1942
- Brass, enamel.
- The State Russian Museum
- Мед.А-4591
Медаль наградная «За оборону Ленинграда»
- 1942
- Bronze, .
- The State Russian Museum
- Мед.А-3750
Облигация на сумму 500 рублей Государственного военного займа
- 1942
- Paper.
- The State Russian Museum
- Бум.А-16336
Орден Александра Невского
- 1942
- Silver, enamel.
- The State Russian Museum
- Мед.А-5294
Орден Отечественной войны I степени
- 1942
- Gold, silver, enamel.
- The State Russian Museum
- Мед.А-3973
Знак нагрудный «Отличный связист»
- 1943
- Brass, enamel.
- The State Russian Museum
- Мед.А-4594
Медаль партизану Отечественной войны I степени
- 1943
- Silver, .
- The State Russian Museum
- Мед.А-12666
Облигация на сумму 100 рублей Второго Государственного военного займа
- 1943
- Paper. 20 х 16
- The State Russian Museum
- Бум.А-16355
Орден Славы III степени
- 1943
- Silver, enamel, .
- The State Russian Museum
- Мед.А-3764
Медаль Ушакова
- 1944
- Silver, .
- The State Russian Museum
- Мед.А-3762
Медаль наградная Нахимова
- 1944
- Bronze, .
- The State Russian Museum
- Мед.А-12668
Облигация на сумму 200 рублей Третьего Государственного военного займа (Выигрышный выпуск)
- 1944
- Paper. 19,8 х 15
- The State Russian Museum
- Бум.А-16432
Медаль наградная «За взятие Берлина», 1945 г.
- 1945
- Bronze, .
- The State Russian Museum
- Мед.А-3394
Медаль наградная «За освобождение Варшавы»
- 1945
- Bronze, .
- The State Russian Museum
- Мед.А-3971
Медаль наградная «За победу над Японией»
- 1945
- Bronze, .
- The State Russian Museum
- Мед.А-3781
Облигация на сумму 500 рублей Четвертого Государственного военного займа
- 1945
- Paper. 24,4 х 18,6
- The State Russian Museum
- Бум.А-16437
Ваза «Выборы в Верховный Совет СССР»
- Porcelain, painting.
- Республиканский музей изобразительных искусств (Йошкар-Ола, Республика Марий Эл)
- ДПИ-51
Ваза «Слава»
- 1950-1951
- .
- The State Russian Museum
- СТ-2790/а-н
Ваза «Строительство»
- .
- Магнитогорская картинная галерея
- ДПИ-258
Значок октябрятский
- 1960-70s
- Enamel. 29 x 28
- The State Russian Museum
- Мед.А-4405
Значок пионерский
- 1960-70s
- Enamel. 24 x 21
- The State Russian Museum
- Мед.А-9209
Блюдо «Наши стройки»
- Porcelain, painting.
- Магнитогорская картинная галерея
- ДПИ–741
Ваза «Юбилейная»
- Porcelain, painting, gilding.
- Егорьевский историко-художественный музей
- КС 192
Ваза «Юбилейная»
- Porcelain, painting, gilding.
- Егорьевский историко-художественный музей
- КС 193
Ваза «Космос»
- faience, .
- Магнитогорская картинная галерея
- ДПИ-791
Значок пионерского лагеря «Артек»
- 1970s
- Enamel. 34 x 17
- The State Russian Museum
- Мед.А-5913
Ваза «Юбилейная»
- Porcelain, painting, gilding.
- Егорьевский историко-художественный музей
- КС. 191
Ваза
- Porcelain, painting, gilding.
- Егорьевский историко-художественный музей
- КП 5969
Ваза
- Porcelain, painting, gilding.
- Егорьевский историко-художественный музей
- КП 5970 КС
Тарелка декоративная «Новый Егорьевск»
- faience, .
- Егорьевский историко-художественный музей
- КС. 990
Рельеф «Слава труду»
- Porcelain, .
- Егорьевский историко-художественный музей
- КС. 1423
Рельеф «Слава труду»
- Porcelain, .
- Егорьевский историко-художественный музей
- КС. 1424
Тарелка «Метро «Киевская». Проводы поезда»
- Porcelain, , painting over glaze, gilding.
- Егорьевский историко-художественный музей
- КС. 1439