At the exhibition in Moscow the revolution is the avant-garde and propaganda art
What happened to the art in the first two decades after the revolution — tells and shows the gallery of the Hermitage. She does this exquisitely in terms of sales, their location, and build a dialogue with the viewer itself.
The exhibits represent the key artistic phenomena of the time: propaganda art, constructivism, Soviet art Deco. The authors of the infamous: Rodchenko, Lentulov, Schr, Annenkov, Stepanova, Drevin… They Suprematist and cubist experiments in the field of painting and graphics pleasing to the eye dilute rare works by leading artists of the field campaign, responsible for the architecture, sculpture, design, posters, arts and crafts. The materials they used the most different: from the bone, and porcelain to lacquer and textiles . They, in turn, carefully dilute with unique pieces of furniture from the House on the embankment of authorship Iofan, the memorial room of the NGO “Voroshilovsky area”, the architectural designs of Shchusev, Alabyana, Chechulin…
But the apotheosis of the exhibition is a Large curtain, which for the first time in the history of the theatre began sliding, sketch Fedorovsky. Being the main artist BT, a master in the early 1930s prepared the sketches of the curtain on the theme of the anniversary of the revolution in the spirit of propaganda art. Decorated them with Soviet symbols: the hammer, sickle, ears of corn, the details of the mechanisms. There were then no dates (1871 — the year of the Paris commune, 1905 — first Russian revolution, 1917 — the great October revolution) and the slogan “proletarians of all countries, unite!” in several languages. Set the curtain in 1937.
The topic of cooperation of artists from the theatre are the costumes and scenery for the major productions of leading theaters Stenberg, Vesnina, the same Fedorovsky. All their works are bold, avant-garde ideas, which it is felt that the art of those years was going through a new stage of development, and campaign challenges are met through innovative experiments.
— The idea of the exhibition is to give the viewer an opportunity to feel the wonderful discoveries in Russian art, which occurred with the emergence of the new state, explains curator of the project Christina Krasnyanskaya. — In the same space the viewer can appreciate the creative ideas and truly revolutionary artists, architects, seriously believing in the building of a new, perfect, free world…
Today, 100 years later, we can, discarding all unnecessary, a new perspective to see and to re-evaluate the unique scale of the Russian art of the 1920-1930-ies. Then it, having experienced the consequences of the major revolutions of the twentieth century, went far beyond the borders of Russia and the Soviet Union and today has become part of the history of world culture.