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Soviet art during the Great Patriotic War
Since the beginning of the Great Patriotic War, artists are taking an active part in the fight against the enemy. Some of them went to fight at the front, others - in partisan detachments and the people's militia. Between battles, they managed to publish newspapers, posters, cartoons. In the rear, the artists were propagandists, they organized exhibitions, they turned art into a weapon against the enemy - no less dangerous than a military one. Many exhibitions were organized during the war.
As in the years of the revolution, the poster occupied the first place in the graphics of the war years. Moreover, two stages of its development can be clearly traced. In the first two years of the war, the poster had a dramatic, even tragic sound. The main idea was to repulse the enemy, and it was expressed in a harsh, laconic pictorial language, regardless of creative individuals. At the second stage, after a turning point in the course of the war, both the mood and the image of the poster, filled with optimism and folk humor, change.
During the war years, significant works of easel graphics appeared, and the variety of impressions gave rise to a variety of forms. These are quick documentary-accurate sketches of the front, different in technique, style and artistic level. The historical theme occupies a special place in military graphics. It reveals our past, the life of our ancestors
(engravings by V. Favorsky, A. Goncharov, I. Bilibin). Architectural landscapes of the past are also presented.
During the war, the aggravation of direct contacts of artists with life circumstances and people is naturally observed. The feeling of responsibility for tomorrow not only of one's country, but of all mankind becomes dominant, as a result of which easel paintings begin to acquire a completely special sound.
The first works of painting of this period are landscape, it is within the framework of this genre that all the most significant and fundamentally new in painting of the Great Patriotic War will be created. One of the first places among them is occupied by “Outskirts of Moscow. November 1941 "(1941)
A. Deineki, which is a landscape with pronounced genre features. The painting style remains in line with the previously established style, which is characterized by the expressiveness of the rhythmic structure, restrained but intense color, dynamism of the composition. However, the new historical situation has left its unique imprint: in everything there is a threat, resistance, readiness to repulse, akin to the effect of a compressed spring. Defense of Sevastopol (1942) demonstrates the same dominant landscape experience of space, despite the presence of people on all planes. However, on the whole, it makes a much less strong impression, since the experience of drama turns out to be the weaker, the more it is brought into the plot. Tension creates what is guessed, conjectured, revealed with labor, with effort. Outwardly manifested pathos removes the feeling of sacred "concealment" of the true meaning of the captured events.
Plastov builds a completely different system of constructing an image - not in support of what is happening, a spatial environment is being built - in these cases - a landscape environment, but in contrast to it. “The Fascist flew by” (1942) is one of the characteristic works of this kind: in the gold and silver of the shining “lush nature of fading”, the gentle lyricism of a rural panorama does not immediately allow us to decode the tragedy of what is captured. The acuteness of the loss is conveyed not through scale and pathos, but through details and subtext - a frightened herd, a crumpled shepherd boy, a barely noticeable silhouette of a departing plane, suggesting associations with the "Fall of Icarus" by the great master of the Northern Renaissance Pieter Bruegel the Elder. The artist fully mastered the way of expressing the tragedy of the situation through the subtext, which is also reflected in the work "Harvest", which embodies a life fulfilled of work and worries as the antithesis of death, dramatized by the latent presence of only wounded and very young men.
It is characteristic that the first exhibition in 1941 was the "Landscape of Our Motherland" exposition, where many works written before the start of the war were presented, but the theme itself became significant. This exhibition of 1942 "The Great Patriotic War" was clearly demonstrated: "Parade on Red Square on November 7, 1942" (1942) by K. Yuon is built on the grandiose significance of the environment, which contains the meaning and content of historical events. They are visible participants in the accomplished feat. The traces of war in numerous works of the genre appear as something alien, morbidly ugly, distorting the dear, beloved.
Wartime people have changed and their environment has changed. The world is losing its lyrical isolation, it is wider, more spacious, more dramatic and meaningful. Nature encourages and supports. The portrait naturally occupies a special place, demonstrating a natural desire to embody the hero's ideal. The genres of battle and everyday life are represented by the most vividly unique painting "Mother of the Partisan" by S. Gerasimov (1943). Of particular importance is painting of the historical genre, as if assuming reliance on the victorious traditions of the past, despite all its drama. The experience of history is experienced through the prism of its significance for understanding and interpreting the present. At the same time, another characteristic feature is revealed - a very acute experience of the everyday, which was revealed from a new side as completely precious and rare, while the terrible, unimaginable, previously unthinkable and impossible became everyday.
Monumental painting, of course, had few opportunities during the war years. But even at this time of the most difficult tests, the art of "eternal materials", frescoes and mosaics, continued to exist and develop. It is significant that in besieged Leningrad in the mosaic workshop of the Academy of Arts, mosaics for the subway are being assembled from Deineka's cardboard.
Despite the more difficult working conditions of the sculptor in comparison with the painter and graphic artist, Soviet sculptors from the first days of the war actively worked, and participated in mobile exhibitions. In the sculpture of the war years, even more clearly than in painting, we will feel the priority of the portrait genre. Over time, in a sculptural portrait, as in painting, the ideal, the sublimely heroic, often frankly idealized, prevails over the individual-specific.
In 1941-1945, during the years of the great battle against fascism, artists created many works in which they expressed the entire tragedy of the war and glorified the feat of the victorious people.
| Table of contents |
|---|
| History of Russian art. |
| DIDACTIC PLAN |
| Art of Ancient Russia. The oldest period |
| Old Russian art of the 10th - mid-13th centuries |
| Old Russian art of the XIII-XV centuries |
| Art of the period of the Moscow "collecting lands" |
The Great Patriotic War was clearly the most important factor that influenced the development of art in the 1940s. Soviet artists and sculptors, like other citizens, were actively involved in the defense of the country, and due to the specifics of their profession, they (like writers) were attracted to propaganda tasks determined by the government, which during this period was given a colossal role.
Poster of the Kukryniksy "We will mercilessly defeat and destroy the enemy!" appeared the day after the Nazi attack. Artists worked in many directions - they produced political posters for the front and rear (the task was to inspire people to feat), at the front they collaborated in front-line newspapers, various editorial offices (the role of the Grekov studio of military artists is important here). In addition, they created works for exhibitions, "fulfilling the usual role of public propagandist for Soviet art." During this period, two large all-Union exhibitions were held - "The Great Patriotic War" and "The Heroic Front and Rear", and in 1943 an exhibition was organized for the 25th anniversary of the Soviet Army, where the best works about military events were presented. 12 republican exhibitions were held in the union republics. The blockade artists of Leningrad also fulfilled their mission: see, for example, the blockade pencil magazine they created and published regularly.
The poster was one of the most important genres of Soviet art during the Second World War. The old masters who developed during the Civil War (D. Moor, V. Denis, M. Cheremnykh) and the masters of the next generation (I. Toidze, “The Motherland Calls!”; A. Kokorekin, “For the Motherland ! ”(1942); V. Ivanov,“ We drink water from our native Dnieper, we will drink from the Prut, Neman and Bug! ”(1943); V. Koretsky,“ Warrior of the Red Army, save! ”(1942). TASS windows, in which the Kukryniksy and many others collaborated were an important phenomenon.
Easel graphic artists also created significant works during this period. This was facilitated by the portability of their technique, which distinguished them from painters with a long period of creation. The perception of the environment was sharpened, therefore a large number of excited, touching, lyrical and dramatic images were created.
Many graphic artists took part in the hostilities. Yuri Petrov, author of The Spanish Diary, died on the Finnish front. During the Leningrad blockade, Ivan Bilibin, Pavel Shillingovsky, Nikolai Tyrsa were killed. The artists who volunteered for the front were killed - Nikita Favorsky, A. Kravtsov, Mikhail Gurevich.
For easel graphics of that period, serial production became a feature, when a cycle of works expressed a single idea and theme. Large series began to emerge in 1941. Many of them ended after the war, connecting the present and the past.
Leonid Soyfertis creates two series of drawings: "Sevastopol" and "Crimea". He was in Sevastopol since the first days of the war, having gone to the front as a military artist, and spent all the years of the war in the Black Sea Fleet. His everyday sketches become part of the military epic. Curious is his sheet "Once upon a time!" (1941) - with a sailor and street cleaners. The sheet "Photo for Party Document" (1943) depicts a sailor and a photographer, whose tripod stands in a bomb crater.
Dementiy Shmarinov created a series of drawings "Let's not forget, we will not forgive!" (1942) with charcoal and black watercolors - with the characteristic tragic situations of the first year of the war. Of these, the most famous are "Mother" over the body of a murdered son and "Return" of a peasant woman in the ashes, as well as "Execution of a partisan". Here for the first time a theme appears that will later become traditional for the art of the war years - the Soviet people and their resistance to aggression, the main emotional meaning of the series - the suffering of the people, their anger and heroic strength, "predicting" the defeat of the Nazis.
Alexey Pakhomov created a kind of graphic suite "Leningrad in the days of the siege", created by him during his stay in the city. Started in 1941, the first six sheets were shown at an exhibition of military works by Leningrad artists in 1942, then worked on it after the war. As a result, the series consisted of three dozen large lithographs, and the plots, in addition to the life of the townspeople during the days of the siege, included the stage of liberation, the restoration of the city, the joys of life. Of these, one can list "On the Neva for water", "Fireworks in honor of breaking the blockade."
In addition to the series, individual drawings and engravings were also created: Deineka's Berlin watercolors “Berlin. Sun "and" On the day of signing the declaration "(1945).
I. Introduction
II. Literature during the Second World War
Sh. Art during the Second World War
3.1. Cinematography and theatrical art.
3.2. Campaign poster as the main type of fine art during the Second World War.
I . Introduction
During the Great Patriotic War, the struggle for freedom and independence of the Motherland became the main content of the life of Soviet people. This struggle demanded from them the utmost exertion of spiritual and physical strength. And it is precisely the mobilization of the spiritual forces of the Soviet people during the Great Patriotic War that is the main task of our literature and our art, which have become a powerful means of patriotic agitation.
II ... Literature during the Second World War
The Great Patriotic War is an ordeal that befell the Russian people. The literature of that time could not remain aloof from this event.
So on the first day of the war, at a rally of Soviet writers, the following words sounded: "Every Soviet writer is ready to do everything, his strength, all his experience and talent, all his blood, if necessary, to devote to the cause of the holy people's war against the enemies of our Motherland." These words were justified. From the very beginning of the war, writers felt "mobilized and called upon." About two thousand writers went to the front, more than four hundred of them did not return. These are A. Gaidar, E. Petrov, Yu. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young.
Frontline writers fully shared with their people both the pain of retreat and the joy of victories. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: "We have lived our good age as people, and for people."
The writers lived one life with the fighting people: they froze in the trenches, went on the attack, performed feats and ... wrote.
Russian literature of the Second World War period became the literature of one theme - the theme of war, the theme of the Motherland. Writers felt like "trench poets" (A. Surkov), and all literature as a whole, as A. Tolstov aptly put it, was "the voice of the heroic soul of the people." The slogan "All forces - to defeat the enemy!" directly related to writers. Wartime writers possessed all kinds of literary weapons: lyrics and satire, epics and drama. Nevertheless, the first word was said by lyricists and publicists.
Poems were published by the central and front-line press, broadcast on the radio along with information about the most important military and political events, sounded from numerous impromptu scenes at the front and in the rear. Many poems were copied into front-line notebooks, learned by heart. The poems "Wait for me" by Konstantin Simonov, "Dugout" by Alexander Surkov, "Ogonyok" by Isakovsky gave rise to numerous poetic answers. The poetic dialogue between writers and readers testified to the fact that during the war years, a heartfelt contact was established between poets and the people, unprecedented in the history of our poetry. Intimate closeness with the people is the most remarkable and exclusive feature of the lyrics of 1941-1945.
Motherland, war, death and immortality, hatred of the enemy, fighting brotherhood and comradeship, love and loyalty, the dream of victory, meditation on the fate of the people - these are the main motives of military poetry. In the verses of Tikhonov, Surkov, Isakovsky, Tvardovsky, one can hear anxiety for the fatherland and merciless hatred of the enemy, the bitterness of loss and the consciousness of the cruel necessity of war.
In the days of the war, the sense of the homeland intensified. Torn away from their favorite pursuits and native places, millions of Soviet people seemed to have a fresh look at their familiar native lands, at the house where they were born, at themselves, at their people. This was reflected in poetry: there were heartfelt poems about Moscow by Surkov and Gusev, about Tikhonov's Leningrad, Olga Berggolts, about Isakovsky's Smolensk region.
Love for the fatherland and hatred for the enemy is that inexhaustible and only source from which our lyrics drew their inspiration during the Second World War. The most famous poets of that time were: Nikolai Tikhonov, Alexander Tvardovsky, Alexei Surkov, Olga Berggolts, Mikhail Isakovsky, Konstantin Simonov.
In the poetry of the war years, three main genre groups of poems can be distinguished: lyric (ode, elegy, song), satirical and lyric-epic (ballads, poems).
During the years of the Great Patriotic War, not only poetic genres developed, but also prose. It is represented by journalistic and essay genres, war stories and heroic stories. Publicistic genres are very diverse: articles, essays, feuilletons, proclamations, letters, leaflets.
Articles were written by: Leonov, Alexey Tolstoy, Mikhail Sholokhov, Vsevolod Vishnevsky, Nikolai Tikhonov. With their articles, they brought up high civic feelings, taught them to be implacable towards fascism, and revealed the true face of the "organizers of the new order." Soviet writers opposed great human truth to the false fascist propaganda. Hundreds of articles contained irrefutable facts about the atrocities of the invaders, quoted letters, diaries, and witness statements from prisoners of war, named names, dates, numbers, and made references to secret documents, orders and orders of the authorities. In their articles, they told the harsh truth about the war, supported the bright dream of victory among the people, called for perseverance, courage and perseverance. "Not one step further!" - this is how Alexei Tolstov's article "Moscow is threatened by the enemy" begins.
Publicism had a tremendous impact on all genres of wartime literature, and above all on the essay. From the sketches, the world first learned about the immortal names of Zoya Kosmodemyanskaya, Liza Chaikina, Alexander Matrosov, about the feat of the Young Guard, who preceded the novel "Young Guard". Very common in 1943-1945 was an essay about the feat of a large group of people. So, there are essays about the night aviation "U-2" (Simonov), about the heroic Komsomol (Vishnevsky), and many others. Essays on the heroic rear are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes as to mass labor heroism. Most often, Marietta Shaginyan, Kononenko, Karavaeva, Kolosov wrote about the people in the rear.
The defense of Leningrad and the battle of Moscow were the reason for the creation of a number of event essays, which represent the artistic chronicle of military operations. This is evidenced by the essays: "Moscow. November 1941" by Lidina, "July - December" by Simonov.
During the Great Patriotic War, such works were also created in which the main attention was paid to the fate of a person in the war. Human happiness and war - this is how one can formulate the basic principle of such works as "Just Love" by V. Vasilevskaya, "It was in Leningrad" by A. Chakovsky, "Third Chamber" by Leonidov.
In 1942, the story of V. Nekrasov's war, "In the trenches of Stalingrad", appeared. This was the first work of a then unknown front-line writer who rose to the rank of captain, who fought at Stalingrad all the long days and nights, participated in its defense, in the terrible and unbearable battles that our army waged.
The war has become a great misfortune for everyone, a misfortune. But it is at this time that people manifest a moral essence, "it (the war) is like a litmus test, as some kind of special developer." For example, Valega is an illiterate person, “... he reads by syllables, and if you ask him what his homeland is, he, by God, will not really explain. But for this homeland ... he will fight to the last bullet. And the cartridges will run out - with fists, teeth ... ". The battalion commander Shiryaev and Kerzhentsev are doing everything possible to save as many human lives as possible in order to fulfill their duty. They are opposed in the novel by the image of Kaluzhsky, who thinks only about not getting to the front line; the author also condemns Abrosimov, who believes that if a task is set, then it must be carried out, despite any losses, throwing people under the destructive fire of machine guns.
Reading the story, you feel the author's faith in the Russian soldier, who, despite all the suffering, troubles, failures, has no doubts about the justice of the liberation war. The heroes of V.P. Nekrasov's story live by faith in future victory and are ready to give their lives for it without hesitation.
Sh. Art during the Second World War
The Great Patriotic War revealed to the artist a scattering of material, which concealed enormous moral and aesthetic riches. The mass heroism of people gave art as a humanity so much that the gallery of folk characters started in those years is constantly being replenished with new and new figures. The sharpest collisions of life, during which the ideas of loyalty to the Fatherland, courage and duty, love and comradeship were manifested with particular vividness, are capable of nourishing the ideas of the masters of the present and the future.
3.1. Cinematography and theatrical art.
The theatrical dramaturgy of A. Korneichuk, K. Simonov, L. Leonov and others played an important role in the development of art, starting from the first war years. According to their plays "Partisans in the steppes of Ukraine", "Front", "A guy from our city", "Russian people", "Invasion" later films were made based on these plays.
A propaganda assignment and journalism, a caricature and a poem, a note from a front-line notebook and a play published in a newspaper, a novel and radio speech, a poster figure of the enemy and an image of the mother, elevated to the point of pathos, personifying the Motherland - the multicolored spectrum of art and literature of those years included cinematography, where many of the types and genres of martial arts were melted into visible, plastic images.
During the war years, the significance of different types of cinema became different than in peaceful conditions.
In art, newsreels have come to the fore as the most operational type of cinema. The wide spread of documentary filming, the prompt release of film magazines and thematic short and full-length films - documentary films - allowed the chronicle as a form of information and journalism to take its place alongside our newspaper periodicals.
Fiction cinematography has become a different, but still powerful means of ideological education of the masses than before the war. Masters of artistic cinematography strove to tell about the heroes of the front and rear in such a way that their exploits would inspire thousands and tens of thousands of soldiers, officers, partisans, and home front workers for new heroic deeds.
Cameramen at the front initially filmed in the same way as on peaceful days during maneuvers. Avalanches of tanks rushed on the screen, squadrons of aircraft flew, fighters fled in general plans ...
From the fall of 1941, the character of the depiction of war in front-line film reports began to slowly change. At first, the film plots of the front-line operators resembled military reports in their style. However, gradually more and more clearly felt the desire to provide not only detailed information, but also to try to comprehend the heroic epic of the Great Patriotic War.
A new character of the depiction of the war arose when the front approached the largest centers of the country, and the population took part in the defense of their cities. Filming the defense of the hero cities played a special role in the development of Soviet journalism. It is from these tapes that it is easiest to trace how the understanding of the national character of the war gradually deepened in the minds of documentary filmmakers, and how the style and nature of documentary filming changed with a change in the outlook on war.
One of the first attempts at a new reflection of the heroic epic of the Patriotic War was made in a film reportage shot by cameramen V. Mikosha, M. Troyanovsky and S. Kogan in Odessa and Sevastopol.
In the first, June days of the war, seeing off those leaving for the front was filmed mainly in a general plan. The cameramen were primarily interested in the fact itself.
A few months later, the same chroniclers filmed the recording of Muscovites in the people's militia in a different way. The camera slowly pans over the rows of volunteers, it stops on the face of an old intellectual, then benevolently watches as an elderly worker slowly tries on a padded jacket, then watches a young boy picking up a rifle for the first time. The cameraman as if invites the audience to take a closer look at these faces, to try to remember them: after all, people are going to defend Moscow, and many, probably, will not return ...
On difficult days for Moscow, when the enemy found itself at a distance of 25-30 kilometers from the city, Muscovites saw on the screens a new newsreel - "To protect native Moscow." It began to be produced by a group of filmmakers who remained in Moscow (L. Varlamov, B. Nebylitsky, R. Gikov, N. Karamzinsky, I. Kopalin, S. Gurov). From materials sent to the studio by the frontline
cameramen, they edited short sketches and individual plots, which told about the battles on the outskirts of Moscow, about the everyday life of the Soviet capital. The last issues of the newsreel (nine issues were issued during the winter of 1941/42) informed the viewer about the course of the counteroffensive of the Red Army units and the defeat of the fascist troops near Moscow. Most of this material was later included in the documentary "The defeat of the Nazi troops near Moscow"
In addition to plots in newsreels, documentary filmmakers from the very first days of the war began to release short films and review film essays that talked about the life of the Soviet state, which was attacked by the Nazi army. These include: "Youth, to defend the Motherland!" (directed by O. Podgoretskaya), Our Moscow (directed by Y. Poselsky), 24th October (directed by L. Varlamov), Bread for the Motherland (directed by L. Stepanova), etc.
At the beginning of 1942, a large documentary film "The Defeat of the Nazi Troops near Moscow" was released (directed by L. Varlamova and I. Kopalin, voice-over by P. Pavlenko, lyrics by A. Surkov, composer B. Mokrousov). The film told about the offensive operation of the Soviet troops near Moscow in December 1941 - January 1942, which played a huge role during the entire world war.
Since the time of the Battle of Stalingrad, experiments have begun with the simultaneous recording of sound and images in combat conditions. There were isolated experiments in the field of color and stereoscopic frontal photography. In the middle of 1942, cameraman I. Gelein filmed a number of shots on color film in the battles for Vitebsk: preparations for the storming of the city, an attack, a Katyusha salvo, aviation actions, soldiers at night by the fire, an operation in a medical battalion. In 1944, cameraman D. Surensky, shortly after the lifting of the blockade of Leningrad, made two stereoscopic footage in Petrodvorets destroyed by the Nazis and in Leningrad.
In the final period of the war (1944-1945), the offensive actions of the Soviet Army and its liberation mission became the subjects of documentary cinematography. The cameramen walked along with the military units advancing to the west, filmed meetings, rallies in the liberated cities, people who had been in Nazi captivity, the first labor efforts of the people to restore the destroyed.
On the basis of film documents that captured the life of the front and rear, during this period such films as "The Battle for Our Soviet Ukraine", "Victory in the Right-Bank Ukraine" (author-director A. Dovzhenko), "Liberation of Soviet Belarus" (authors - directors V. Korsh-Sablin, N. Sadkovich), “Liberated Czechoslovakia” (author-director I. Kopalin).
Severe, the front-line operators have truthfully recorded the spring offensive of the Soviet Army: tanks skidding in the mud, cannons pulled by soldiers, close-ups of feet in boots and boots walking on the spring mash.
Spectators were waiting for full-length films about the war. Working at the poorly equipped studios of Alma-Ata, Tashkent and Dushanbe at that time, filmmakers were forced not only to overcome many technical difficulties, but most importantly - they had to comprehend new life material, look for such imaginative solutions that would reveal the national character of the struggle, awakened in people have a high patriotic impulse. It was a difficult civil and aesthetic process, proceeding in an extremely short time.
It is significant that in the center of the first full-length feature film about the war - "The Secretary of the District Committee", created by the director I. Pyryev according to the script of I. Prut in 1942, was the image of the party leader. The authors of the film, with great propaganda force and artistic skill, revealed on the screen the folk origins of the image of a communist who understood people in a mortal battle with the enemy. The secretary of the district committee Stepan Kochet, performed by the wonderful actor V. Vanin, rightfully opened a gallery of large-scale, vivid characters of Soviet cinema of the war years.
A new step towards comprehending the truth of war was made by feature films in the film She Defends the Motherland (1943). The importance of this film, filmed by the director F. Ermler according to the script by A. Kapler, was primarily in the creation of the heroic, truly folk character of the Russian woman - Praskovya Lukyanova - embodied by V. Maretskaya.
Intense searches for new characters, new ways to solve them were crowned with success in the film "Rainbow" (1943), directed by M. Donskoy based on the script by Wanda Vasilevskaya S. N.
Live in the title role. In this work, the tragedy and feat of the people were shown, a collective hero appeared in it - the whole village, its fate became the theme of the film.
"The Unconquered" film by M. Donskoy (1945) is the first film that was filmed in the newly liberated Kiev. The truth about fascism came to M. Donskoy not only through literature, Kino came close to war.
“In a logical chain: war - grief - suffering - hatred - revenge, victory, it is difficult to cross out the big word - suffering,” L. Leonov wrote. The artists understood what cruel pictures of life the rainbow illuminates. They now understood what was behind the fireworks that looked like a rainbow.
The patriotism of the people, their love for the motherland and hatred for the enemy, however, required not only dramatic or, even more so, tragic colors. The war has sharpened the thirst for humanity. Lyrical and humorous collisions arose on the screens. Humor and satire in mass media often occupied the central pages. Comedy films were recognized and desired at the front and in the rear, but there were few of them. Several short stories from "Combat Film Collections", "Antosha Rybkin" and "New Adventures of Schweik" (1943), created at the Tashkent studio, and film adaptations of Chekhov's "Weddings" (1944) and "Jubilee" (1944).
During the war years, cinema, among other arts, played the role of a political fighter and agitator, raising people to defend the fatherland. The ideas of the liberation struggle against fascism were comprehended by him in the world outlook aspect - it was the struggle of the popular masses, united by ideology, against the obscurantism of bourgeois society in its extreme expression.
3.2. Campaign poster as the main type of fine art during the Second World War.
The poster became one of the most important types of visual arts during the war years.
Poster artists promptly responded to the events of the first days of the war. During the week, five poster sheets were published in mass circulation, and the publishing houses were preparing for printing over fifty more: On June 24, a poster with the following plot was printed in the Pravda newspaper. The bayonet stuck directly into the Fuehrer's head, which fully corresponded to the ultimate goal of the unfolding events. The successful combination of heroic and satirical images in the plot of the poster also corresponded to the spirit of the times. Later, the first poster of the Great Patriotic War was repeatedly reproduced in print, published in England, America, China, Iran, Mexico and other countries. Among the poster sheets of June 1941 - the work of A. Kokorekin "Death to the Fascist Reptile!" A successful emblematic characterization of fascism was found. The enemy is shown in the form of a vile reptile, in the form of a swastika, which is pierced with a bayonet by a Red Army Warrior. This work is done in a kind of artistic technique without a background, using only black and red colors. The figure of a warrior represents a red plane silhouette. Such a technique, of course, was dictated to some extent by necessity. Military time, deadlines are tight. For fast reproduction in print, the color palette had to be limited. Another famous poster of A. Kokorekin "Beat the Fascist Gad!" - the one described above varies, but it is drawn in a more voluminous way, specifically, during the war years, the artist completed at least 35 poster sheets.
Among the first military posters - the work of N. Dolgorukov "The enemy will not have mercy!" This is a poster of those where the image of a person plays a subordinate role. The correct selection of details, the wit of the plot, the dynamics of movement, the color scheme are important here. On the eve of the Great Patriotic War, the artist director of the Mosfilm film studio V. Ivanov created a poster sheet dedicated to the Red Army. It depicted fighters rising to attack, advancing tanks, aircraft sweeping across the sky. Above all this mighty, purposeful movement, the Red Banner fluttered. The fate of this last pre-war poster received an unusual continuation. The poster "caught up" with the author on the way to the front. At one of the railway stations V. Ivanov saw his drawing, but the text on it was already different "For the Motherland, For Honor, For Freedom!"
A week after the start of the war, one of the most famous posters of the war years appeared - the Motherland Calls. It was published in millions of copies in all languages of the peoples of the USSR. The artist talentedly presented a generalized image of the Motherland full of romance. The main influence of this poster lies in the psychological content of the image itself - in the expression of the agitated face of a simple Russian woman, in her inviting gesture. In the first months of the war, the plots of heroic posters were full of scenes of attacks and single combat between a Soviet soldier and a fascist, and the main attention, as a rule, was paid to transferring the movement of a furious aspiration to the enemy. These are the posters: “Forward for our victory” by S. Bondar, “Our cause is just. The enemy will be defeated! " R. Gershanik, "The Fascists Will Not Pass!" D. Shmarinova, "Forward Budenovites!" A. Polyansky, "We will crush the enemy with a steel avalanche" by V. Odintsov, "Ruby the GADOV!" M. Avilova, "Let's show the despicable fascist murderers how a Soviet sailor can fight!" A. Kokorekina. The multi-figured composition of these posters was supposed to emphasize the idea of the nation-wide character of resistance to the enemy. To stop the invasion at any cost called A. Kokosha's poster “A soldier who was surrounded. Fight to the last drop of blood! "
"Do not talk!" belongs to the Moscow artist N. Vatolina.
The poster artists did not disregard the theme of the partisan movement. Some of the most famous posters include: “Guerrillas! Hit the enemy without mercy! " V. Koretsky and V. Gitsevich, "The enemy cannot escape the people's revenge!" I. Rabicheva, "Incite a partisan war in the fascist rear! .." A. Kokorekin. V. Koretsky's works "Be a Hero!", "The People and the Army are Invincible!" Druzhinitsa A soldier's assistant and friend! "
Wartime posters are not only original works of art, but also truly historical documents.
References:
History of Russian Soviet Literature. Edited by prof. P.S. Vykhodtseva. Vysshaya Shkola Publishing House, Moscow - 1970
For life on earth. P. Toper. Literature and War. Traditions. Solutions. Heroes. Ed. third. Moscow, "Soviet Writer", 1985
Russian literature of the twentieth century. Ed. "Astrel", 2000
- "The Second World War: Cinematography and Poster Art". M., Thought, 1995
Golovkov A. "Yesterday there was a war." Magazine "Ogonyok", No. 25 1991
The Second World War became a catalyst for the development of art in the Soviet Union. Artists, like ordinary citizens, were involved in the defense of the country. But creative people, in addition to a direct, physical battle with the enemy, also had an equally important task: to support those who fought at the front and those who remained in the rear. The following types of art were especially developed during the Second World War: literature, painting, graphics and cinema.
During the Second World War, prose writers, poets and playwrights create an image of a belligerent people and an enemy opposing them, and the mood of every citizen of the country is formed. It was important to tell who we have to fight with, WHAT fascism brings to the people as a whole and to the individual. Literature has become a weapon of struggle. The features of the literature of the war years can be distinguished:
In the Great Patriotic War, such genres as an essay (P. Lidov - "Tanya"), a ballad (N. Tikhonov, K. Simonov), a poem (A. Tvardovsky "Vasily Turkin", O. Bergholz "Leningrad Poem" ), a lyric poem (A. Akhmatova, B. Pasternak), etc. During the war, small genres were popular, since people appreciated the speed of response to military events: the writer might not have time to finish his work, just as people might not have time to read it to end…
One of the most famous works of wartime is "Vasily Tyorkin" by A. Tvardovsky. The main character of the poem captures all the best features of the Russian person. Turkin is a simple kind guy with a generous heart, loving life and looking forward with optimism, he is brave, but completely not proud. This is a collective image of a gallant, staunch and cheerful Russian soldier.
The rich literary experience of those years showed what a powerful and uplifting force a truthful word aimed at fighting for the ideal can become. Literature of the 40s showed us the patriotic and humanistic principles, nationality, solidarity of Soviet citizens. The heroes of many works were real people, participants in the war.
The main theme of painting in those years was, of course, the military. The artists reflected in their works the fascist threat, harsh everyday life, hatred of the enemy, the suffering of the Soviet people, grief for the dead. At the beginning of the war, there was a hasty recording of what he saw, not excluding the depth of thought (Ya. Nikolaev "For bread", V. Pakulin "Neva embankment. Winter"). In the middle of the war, laconicism, simplicity, straightforwardness were observed in painting. By the end of the war, the pictures become more complex, with developed drama.
The following genres developed:
Thus, war becomes the main theme in all genres: in historical painting, artists turned to the military past, in portrait painting, they depicted war heroes and home front workers, even the landscape takes on a patriotic orientation.
A patriotic poster flourished in graphics. Everyone remembers the posters of V. Koretsky "Warrior of the Red Army, save!", I. Toidze "The Motherland Calls!", T. Eremin "Partisans, take revenge without mercy!" All of these posters were used for campaign purposes. The first poster, inspiring people to feat, appeared already on June 23, 1941: “We will mercilessly crush and destroy the enemy” (Kukryniksy). The poster is one of the leading genres of fine art of the 40s.
And the cinema did not remain indifferent to the terrible events of those years. Documentary films, chronicles, film reports were created. The plots for the films were, again, the struggle of the Soviet people against the invaders, showing major battles and difficult everyday life of the working people in the rear. During the war, such well-known feature films as "A guy from our city", "Secretary of the district committee", "Wait for me", "Two fighters" were shot, whose fame does not subside today. There were also filmed documentaries: "The Battle of Sevastopol", "Berlin", "The defeat of the German troops near Moscow", etc.
Thus, in the early 40s. all the forces of art workers were thrown into a truthful depiction of the tragedy of the war and the glorification of the feat of the Soviet people. We have proved to ourselves and to our enemies that our country, even in difficult times, remains a country of free and talented writers, artists and cinematographers who have not obeyed anyone.
1. Introduction
The Great Patriotic War is one of the brightest and most tragic pages in the history of our country. The war became a terrible test for the entire Soviet people. A test of courage, fortitude, solidarity and heroism. To withstand the confrontation with the most powerful of the developed countries of that time - fascist Germany - became possible only at the cost of tremendous exertion of forces and the greatest sacrifices.
During the war, the ability of our people, developed by thousands of years of Russian experience, to endure the most severe social overloads, was clearly manifested. The war once again demonstrated the amazing "talent" of the Russian people to reveal all their best qualities, abilities, and their potential in extreme conditions.
All these popular feelings and sentiments manifested themselves not only in the mass heroism of Soviet soldiers at the front, but also in the rear. The flow of volunteers to the front did not run out. Tens of thousands of women, adolescents, old people stood at the machines, mastered tractors, combines, cars to replace the husbands, fathers and sons who left to fight.
The war with its grief, loss of loved ones, suffering, tremendous exertion of all the spiritual and physical forces of the people and at the same time an extraordinary spiritual upsurge was reflected in the content of works of literature and art during the war years. My essay tells about the enormous contribution to the great cause of Victory made by the artistic intelligentsia, who shared the fate of the country with all the people. While working on the abstract, I studied a number of articles and publications. I learned a lot of interesting things for myself in the book by P. Toper "For the sake of life on earth ..." The collections World War II: Cinematography and Poster Art, as well as History of Moscow during the Great Patriotic War and the Post-War Period, aroused great interest, which introduced me to famous film masters, artists, musicians and their works. The textbook for preparing for the exams "Russian Literature of the 20th Century" gave me the necessary theoretical basis. Internet resources also contributed to the successful work on the abstract.
2. Art during the Great Patriotic War
The Great Patriotic War revealed to the artist a scattering of material, which concealed enormous moral and aesthetic riches. The mass heroism of people gave art as a humanity so much that the gallery of folk characters started in those years is constantly being replenished with new and new figures. The sharpest collisions of life, during which the ideas of loyalty to the Fatherland, courage and duty, love and comradeship were manifested with particular vividness, are capable of nourishing the ideas of the masters of the present and the future.
2.1. Cinema
243 documentary cameramen have captured the chronicle of the war for us. They were called "soldiers with two machine guns" because in their arsenal, in addition to military weapons, the main weapon remained a professional weapon - a movie camera.
Newsreel in all its forms was highlighted. The work of front-line operators is a constant creative search, selection from a huge amount of footage that is most important in the harsh everyday life of the Great Patriotic War.
In the first months of the war, the Leningrad, Kiev, Minsk newsreel studios were disabled. The Moscow Film Studio remained, which became the organizing center, was able to quickly staff the front-line film groups and send them to the active army. And already on June 25, 1941, the first front-line filming was included in the 70th issue of "Soyuzkinozhurnal", and from the beginning of July 1941 it already had a permanent heading "Films from the fronts of the Patriotic War." The consolidation of newsreels into newsreels and films was carried out at the main headquarters - the Central Newsreel Studio in Moscow.
For the needs of the film crews filming the combat operations of our pilots, the Air Force command allocated a large number of special narrow-film film cameras. Together with the aircraft designers, the best places for installing them on aircraft were found: the vehicles were paired with aircraft small arms and turned on simultaneously with the shot.
About 250 cameramen worked on the fronts of the Great Patriotic War. The main core of the front-line newsreels were the operators, hardened on the labor fronts of the first five-year plans - R. Karmen, M. Tronevsky, M. Oshurkov, P. Paley. But there were also many talented young people who later entered the golden fund of Russian cinematography - V. Sushchinsky, Y. Leibov, S. Stoyanovsky, I. Belyakov, G. Bobrov, P. Kasatkin, B. Nebylytsky ... in a partisan unit operating behind enemy lines in the suburbs, cameraman M. Sukhova. Without looking up for a minute from the camera lens, the battle for the liberation of the Chop station by Soviet troops, which lasted 5 hours, was filmed by cameraman B. Pumpyansky ...
A separate full-length documentary film was dedicated to each major battle that had a milestone in the course of the Great Patriotic War, and short films or front-line issues were dedicated to especially important events.
So, the days and nights of the heroic defense of Moscow were recorded on film by the operators of the Central Newsreel Studio. In November 1941, the studio began to publish a newsreel "In Defense of Native Moscow". The first battles with fascist aviation in the skies of the capital were filmed day after day by a group of cameramen led by director M. Slutsky. The result was the film Our Moscow, created in the summer of 1941. The same director repeated the technique suggested by M. Gorky for the pre-war film "New World Day". On June 23, 1942, 160 operators recorded the main events of the 356th day of the war on all fronts, as well as the work of the rear. The footage was combined into the film "War Day".
The first publicistic film about the war was the film "The Defeat of German Troops Near Moscow" directed by I. Kopalin and L. Varlamov, which was screened with triumphal success all over the world (more than 7 million viewers watched it in the USA alone) and was awarded the highest award of the American Film Academy - the prize "Oscar" as the best foreign documentary film of 1942.
The last documentary film of the war years was the film "Berlin" directed by J. Reilman, created in 1945. Its demonstration opened the first post-war international film festival in Cannes. The French newspaper Patriot de Nisdu Sud Est wrote at the time: "The realism of Berlin borders on hallucination. Shots from nature are edited with amazing simplicity and create the impression of a reality that only Soviet cinema has achieved ... In Berlin, victory is achieved mainly thanks to patriotism, courage, self-control. "Berlin" gives us a wonderful lesson in cinematic art, and the incessant applause of critics and the public is the best evidence of this. "
During the war years, 34 full-length documentaries, 67 short films, 24 front-line issues and more than 460 issues of Soyuzkinozhurnal and the News of the Day magazine were released. 14 documentaries - among them "The Defeat of German Troops near Moscow", "Leningrad in the Struggle", "Berlin" - were awarded the State Prize of the USSR.
For the creation of the film chronicle of the Great Patriotic War, the Central Newsreel Studio in 1944 was awarded the Order of the Red Banner. For the documentary and journalistic epic "The Great Patriotic War", which consisted of 20 full-length films, a large team of its creators headed by artistic director and chief director R. Karmen, later Hero of Socialist Labor, People's Artist of the USSR, was awarded the Lenin Prize in 1980.
Over 40 front-line documentary filmmakers died a heroic death during the last war ... Their names are inscribed on memorial plaques in the buildings of the Central House of Cinema, the Central Documentary Film Studio, and the M. Gorky Central Studio for Children and Youth Films. A marble pylon with the names of the dead documentary filmmakers of the Mosfilm film studio stands on the territory of the studio. And next to it is a sculptural composition, which is a torn-shaped concrete block with high-relief images of heroic episodes of the war, made by the sculptor L. Berlin, architects E. Stamo and M. Shapiro and installed here in May 1965.
Fiction cinematography has become a different, but still powerful means of ideological education of the masses than before the war. Masters of artistic cinematography strove to tell about the heroes of the front and rear in such a way that their exploits would inspire thousands and tens of thousands of soldiers, officers, partisans, and home front workers for new heroic deeds.
The war posed difficult tasks for Soviet cinematography. Solving them, the cinema workers showed great courage and soldiery prowess. Already on June 22, 1941, documentary filmmakers made the first combat filming, and on June 25, the first military episode was included in "Soyuzkinozhurnal" No. 70.
An outstanding role in documenting the events of the war, in the creation of operational military film reports and large documentary films about battles and campaigns was played by the Moscow Chronicle Film Studio. The studio has brought together many creative workers of feature films. Having created a kind of headquarters in Moscow - the Central Chronicle Studio, documentary filmmakers organized a film group at each front.
A prominent place in the work of documentary filmmakers was occupied by the theme of the defense of Moscow, the heroic deeds of Muscovites. Already in the summer of 1941 the director M. Slutsky released the film "Our Moscow". In the fall, a film was shot about the festive parade on Red Square and a special issue "To protect native Moscow." The full-length publicistic film "The Defeat of the German Troops near Moscow", edited by directors I. Kopalin and L. Varlamov from the filming of dozens of cameramen, became a stage in the development of documentary cinema. This film was followed by works about the defense of Leningrad, about the epic on the Volga, about the partisans, about the battle for Ukraine, and later, in 1944-1945, about the liberation campaign of the Soviet Army, the capture of Berlin and the defeat of imperialist Japan. These and many other films were made by the overwhelming majority of Moscow directors and cameramen. Many glorious "fighters with cine cameras" died at the front.
The Moscow Film Studio of Popular Science Films has also done a great deal of fruitful work. Fulfilling the high mission of promoting scientific and socio-political knowledge, the film studio during the war years was reorganized in a military fashion, renamed Voentekhfilm. The directors V. Suteev, V. Shneiderov and others created the films "German defense and its overcoming", "Infantry in battle", "Destroy enemy tanks!"; directors P. Mosyagin, I. Svistunov made many useful military medical films. Instructive films were made for the population on fighting fires, on behavior during enemy raids, on providing first aid to victims of bombing.
In the very first days of the war, the Moscow studio Mosfilm began filming short film novels, a kind of movie posters about the war. Among them were satirical (Hitler's Dream about the defeated knight-dogs, Napoleon, the invaders of 1918 and other would-be conquerors), and heroic (about the exploits of Soviet intelligence officers, border guards, tankers). The heroes of some short stories were famous movie heroes loved by the people: Maxim, the postman Strelka, three tankers; in others, new heroes appeared who were destined to have a long screen life: the brave soldier Schweik, the clever and fearless soldier - cook Antosha Rybkin - Vasily Terkin's "brother". The film novels widely used the material of pre-war films about Alexander Nevsky, Peter I, V.I. Chapaev. These movie novels, filmed in the very first months of the war at the Moscow film studios "Mosfilm" and them. AM Gorky, as well as at Lenfilm, then united in full-length "Combat film collections" under the general title "Victory is ours!"
The second, no less important task was before fiction cinematography - to complete, in spite of the war, all valuable feature films started by production before the Nazi attack on the USSR. And such pictures were finished. These are "Pig and Shepherd", "Mashenka", "Romantics" and other films.
All these films reminded the viewer of peaceful labor, of the achievements of national culture, which now need to be defended with arms in hand.
The seething cinematographic activity did not stop in Moscow for a single minute. However, in the most difficult days, when the fighting was taking place several tens of kilometers from our capital, it was decided to evacuate art film studios from Moscow. In Alma-Ata, Moscow filmmakers created their main wartime works.
The first full-length feature film about the Great Patriotic War was "The Secretary of the District Committee", directed by I. Pyriev and written by I. Prut. In the center was the image of the party leader. The authors of the film, with great propaganda power and artistic skill, revealed on the screen the folk origins of the image of a communist who raised people to a mortal battle with the enemy. The secretary of the district committee Stepan Kochet, performed by the wonderful actor V. Vanin, rightfully opened a gallery of large-scale, vivid characters of Soviet cinema of the war years.
A new step towards comprehending the truth of war was made by feature films in the film She Defends the Motherland (1943). The importance of this film, filmed by the director F. Ermler according to the script by A. Kapler, was primarily in the creation of the heroic, truly folk character of the Russian woman - Praskovya Lukyanova - embodied by V. Maretskaya.
Intensive searches for new characters, new ways to solve them were crowned with success in the film "Rainbow" (1943) with actress N. Uzhviy in the title role, directed by M. Donskoy based on a script by Wanda Vasilevskaya and filmed at the Kiev film studio. In this work, the tragedy and feat of the people were shown, a collective hero appeared in it - the whole village, its fate became the theme of the film. Subsequently, this film received worldwide recognition and became the first Soviet film to receive an Oscar. Natalya Gebdovskaya, actress of the film studio. Dovzhenko, recounted in her memoirs that she “sobbed while listening to this story on the radio,” and that the actors were happy to somehow participate in the production of this film. A few months after the film's release, American diplomat Charles Bohlen translated Roosevelt's Rainbow at the White House. Roosevelt was extremely excited. His words after watching the film were: "The film will be shown to the American people in their due greatness, accompanied by comments from Reynolds and Thomas." After that, he asked: "How can we now, immediately help them?"
The best films of the Central United Film Studio were dedicated to the partisan struggle, to the brave and proud Soviet people who did not bow before fascism, who did not stop the struggle for freedom and independence: "She Defends the Motherland", "Zoya", "Invasion", "Man No. 217", " In the name of the Motherland. "
A significant role in mobilizing the spiritual forces of the people in the fight against fascism was played by the adaptation of K. Simonov's works by director A. Stolper (the film "A Guy from Our City"), the play by A. Korneichuk "Front" (directors G. and S. Vasilievs).
The films "Big Land" directed by S. Gerasimov, "Native Fields" by director B. Babochkin after a script by M. Padava, "Once upon a time there was a girl "Directed by V. Eisymont.
In 1943, the studios began to gradually return to their Moscow pavilions. The first big feature film shot during the war at Mosfilm was "Kutuzov" (directed by V. Petrov) with A. Dikim in the title role.
To acquaint units of the active army with the latest achievements of the performing arts, a genre of concert films was developed and gained popularity, in which musical, theatrical, ballet and pop numbers were combined according to thematic, national or other principles. Work continued on the adaptation of literary works ("Wedding" and "Anniversary" by A. Chekhov, "Guilty without guilt" by A. N. Ostrovsky). Several historical and revolutionary films have been produced.
So, the war was a difficult but fruitful period in the life of filmmakers. The masters of "Mosfilm" and "Soyuzdetfilm" promptly responded to the requests of their viewers, truthfully and passionately reflected in their films the images of the heroes of the Great War, continued and developed the traditions of Soviet cinema. The wide development of chronicle-documentary cinematography with its truthful, accurate and at the same time truly artistic depiction of all the most important military events helped to take an honorable place in Soviet culture for a special type of cinematography - figurative journalism.
2.2 Fine arts
2.2.1. Propaganda poster as the main type of fine art during the Great Patriotic War
During the Great Patriotic War, there was a high national upsurge, the unity of the peoples of the USSR. In all sectors of the economy and culture, as well as in the military industry, high results were achieved, society mobilized and worked for victory. The artists, together with the whole people, joined the military formation. The young masters went to the military registration and enlistment offices to enroll as volunteers in the Red Army. 900 people - members of the Union of Artists fought at the front, were soldiers. Five of them became Heroes of the Soviet Union.
In the twentieth century, nowhere in the world was a political poster given such great importance as in the USSR. The poster was demanded by the situation: revolution, civil war, colossal construction, war against fascism. The authorities set great tasks for the people. The need for immediate and quick communication - all this served as the basis for the development of the Soviet poster. He spoke to millions, often solving life and death problems with them.
The poster achieved great success during the Great Patriotic War. This period in terms of the scale of what was done is comparable to the development of poster art during the October Revolution and the Civil War, but there were hundreds of times more poster sheets created, many posters became classics of Soviet art. In its spirit, in its ability to respond to today's events in a mobile way, the poster turned out to be one of the most effective means for expressing the feelings of the entire population, for a call to action, for the defense of the Motherland, for notifying urgent news from the front and rear. The most important information needed to be conveyed using the simplest and most effective means, and at the same time in a short time.
Each period of the war had its own tasks, all of them demanded an urgent solution. The poster served as a means of transmitting information to those areas in which there were no communication lines, which were occupied, but where Soviet partisans operated. Posters have become extremely popular. Their content was retold from mouth to mouth, becoming a popular rumor.
"...Night. Local residents come to the aid of the scouts. Quietly, sneaking in the darkness along the village streets and lanes, cautiously avoiding the German guards and patrols, fearless patriots stick up, and in the event that this fails, lay out colored panels of Soviet posters and TASS Windows on the ground. Posters are glued to fences, sheds, houses where Germans are standing.
The posters distributed deep in the rear of the Germans are news of the great Motherland, a reminder that friends are close. The population, deprived of the Soviet radio, the Soviet press, quite often learns the truth about the war from these posters that have appeared from nowhere ... "- this is how the veteran of the Great Patriotic War tells about the poster.
Due to lack of time, not all posters were made with high quality, but, in spite of everything, they carried a great and sincere feeling, because in the face of death and suffering it was impossible to lie.
The largest centers for the mass publication of posters in 1941-1945 were the Moscow and Leningrad branches of the State Publishing House "Art". Posters were also printed in large cities of Siberia, the Far East, the Volga region, Central Asia, Transcaucasia, and were published by the political agencies of the Red Army and the Navy, and by newspaper editors. Posters were also often hand-made and stenciled, which accelerated their release, but made it impossible to distribute in thousands of copies.
During the Great Patriotic War, many artists worked in the genre of poster art, who neither before the war nor after the war did not deal with posters.
Poster artists promptly responded to the events of the first days of the war. During the week, five poster sheets were published in mass editions, and the publishing houses were preparing for printing over fifty more. By the evening of June 22, 1941, the Kukryniksy (M. Kupriyanov, P. Krylov, N. Sokolov) created a sketch of the poster "We will mercilessly crush and destroy the enemy." Later, the first poster of the Great Patriotic War was repeatedly reproduced in print, published in England, America, China, Iran, Mexico and other countries.
“In the original version,” says the book “World War II: Cinematography and Poster Art,” “the bayonet of the Red Army soldier pierced Hitler's hand, so the poster sounded more like a warning. But it was printed with a different plot. The bayonet stuck directly into Hitler's head, which fully corresponded to the ultimate goal of the unfolding events. The successful combination of heroic and satirical images in the plot of the poster also corresponded to the spirit of the times. A similar combination was often used by the Kukryniksy and other artists.
It should be noted that the soldier of the Soviet Army is located on the right side of the poster, and Hitler is on the left. Interestingly, many Soviet military posters depict the opposing forces in a similar way. The results of psychological experiments indicate that the viewer, looking at a picture, newspaper page or poster, at the first moment notices the upper right square, and from here his gaze passes to the rest of the image. Thus, the upper right square, and in general the right side of a picture or a poster, from the point of view of the psychology of visual perception, occupies a special place. On many military posters, it is in this place that soldiers of the Red Army are depicted rushing to attack the Nazis, whose figures are placed on the left side of the poster, in the lower part. Such a solution helps a deeper disclosure of the content, increases the expressiveness of the work. "
In addition to the abovementioned, from June 22 to June 29, 1941, N. Dolgorukov's posters "It was so ... It will be so!" Kokorekin "Death to the fascist reptile!"
The satirical poster was very popular during the war. He combined the traditions of the Civil War poster with the achievement of political newspaper and magazine caricature of the 30s. The artists skillfully used the language of metaphors, satirical allegories, the plane of the white sheet, on which the silhouette of the figures clearly stood out and the slogan was clearly read. The plots of the confrontation of forces were popular: evil, aggressive and just defenders.
Especially many satirical posters were created during 1941. Among them, you can list a number of interesting posters: Kukryniksy "Vegetarian cannibal, or two sides of the same coin"; B. Efimov, N. Dolgorukov "They acted - had fun, retreated - they got rid of their tears"; N. Dolgorukov “It was so ... It will be so!”; Kukryniksy "We will cut off all the paths to the evil enemy, from the loop, from this he will not escape!" The satirical poster showed the enemy in a funny light both when he was formidable and dangerous at the beginning of the war, and at the time when the German army began to suffer the first defeats. In the poster "The devil is not so terrible as he is painted" the Kukryniksy presented a scene from the Berlin court life. In reality, the Fuhrer was thin, but on the canvas he was a strong man with big biceps.
The bright posters were created by I. Serebryany "Nakosya, take a bite!", N. Dolgorukov "He hears menacing tunes", V. Denis "To Moscow! Hoh! From Moscow: oh ”,“ The Face of Hitlerism ”and others. Most of the satirical posters were issued by Windows TASS.
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