Literature. Domestic culture of artists made a significant contribution to the victory over fascism. Soviet literature during the Great Patriotic War had an openly agitational character, giving, in the words of Vs. Vishnevsky, "A monstrous charge of hatred for the enemy". A. Tolstoy called Soviet literature during the war "the voice of the heroic soul of the people." These two characteristics express the essence and role of our wartime literature. The poetry of the first days of the war played a special role. She was the first to respond to the tragic events and, referring to the moral experience of our people, spoke about the experiences of a person who found himself face to face with death, understanding his duty to the Motherland and selfless service to her. The lyrics of the war years conveyed the image of the time, the spiritual world of the fighting people in the songs of the epic warehouse.

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

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

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

The fight is holy and right

Mortal combat is not for glory,

For life on earth.

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

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

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

The war deepened the feelings of the Motherland. She expanded the very concept of the Motherland, betrayed the new meaning of "the feeling of a single family." For Russian literature, it is traditionally a reflection of the unity of the whole people in the face of danger. Wartime literature saw its recognition in capturing the unity of peoples in a time of severe trials. A vivid example of this is A. Bekka's Volokolamsk Highway, the first two stories of which were published during the war. This work is a kind of diary of the battle near Moscow. The author shows how and why Russians, Kazakhs, Ukrainians defended Moscow together. The main characters of the story Kazakh Mamysh-Uly explained as follows: “Our children run to school together, our fathers live side by side, share the deprivation and grief of a difficult time. That is why I fight near Moscow, on this land where my father, my grandfather and great-grandfather."

Gradually, the agitational orientation receded, and a realistic approach, sometimes with elements of romance, more and more declared itself. B. Gorbaty's story "The Unsubdued" is one of the first attempts to show how a person's attitude to what is happening changed during the war, how his consciousness and activity grew, and his understanding of his place in life deepened.

At the same time, the characters of the heroes were no longer revealed in something exceptional, but in everyday life, because the everyday in the war became exceptional, and the exceptional became everyday. In the story "Days and Nights" by K. Simonov, the author suggests that in the war people got used to the most terrible thing, to the fact that people who were just talking to him ceased to exist in a moment. In the ability of a person to get used to, to endure the terrible, the possibility of the heroic has also been preserved. The pinnacle of realism in wartime literature was V. Nekrasov's story "In the Windows of Stalingrad", which not only shows "the ordinary heroism of our soldiers, but also their ability to preserve their human nature."

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

Theatre. In the harsh conditions of wartime, theatrical art not only did not lose its strength, but, on the contrary, it acquired a special civilian sound. The theater, as never before, is becoming necessary for all people, but, perhaps, especially for soldiers at the front. The following figures give an idea of ​​the scale of servicing the front: during the war, 3,685 artistic brigades visited military units, in which 42,000 creative workers participated. They gave 473 thousand performances and concerts.

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

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

Among the dramatic works that appeared in the first days of the war, A. Afinogenov's play "On the Eve" appears, which tells how the war invaded the peaceful life of Soviet people. Despite the tragedy of the events that took place, the play was permeated with faith in victory.

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

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

A remarkable event on the theatrical stages was the performance based on the play by A. Korneichuk "Front". The performance tells how the hero of the civil war, a well-deserved man in the past, the commander of the front, Ivan Gorlov, hopelessly lagged behind life. Surrounded by flatterers and sycophants, he believed in his infallibility. Exposing Ivan Gorlov, the author shows people who are not only brave, but also know how to wage war in a new way.

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

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

Art. Being true to their professional and moral duty, more than 900 artists went to the front. They were witnesses, participants in the ongoing events of the Great Patriotic War. Artists made sketches in their travel albums. Numerous sketches created by them are invaluable artistic and documentary material.

The first to respond to the events of the war were the artists Kukryniksy with a poster "We will mercilessly defeat and destroy the enemy." Soon I. Taidze creates his own poster "Motherland Calls". This poster has become a kind of symbol of the Great Patriotic War.

During the war years, thousands of posters, leaflets, postcards were created. And to this day, the posters "Soldier of the Red Army, save" by V. Karetsky, "We drink the water of our native Dnieper. We will drink from the Prut, Neman and Bug" by V. Ivanov, "We will reach Berlin" by L. Golovanov live in our minds.

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

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

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

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

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

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

The continuation of the historical theme was the painting by A. Bubnov "" Morning on the Kulikovo field "". It shows the disturbing moment of the battle. Dmitry Donskoy is shown against the background of an unfolded battle banner with the image of Christ. By this, the artist shows not only the just character of the struggle of the Russian people, but also the uncompromising character.

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

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

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

Get up, great country,

Get up for the death fight

With dark fascist power

With the damned horde!

This song by A.V. Aleksandrov to the words of V.I. Lebedev - Kumach became the anthem of the people who stood up to defend the Fatherland. This song was in the ranks of the soldiers, of all our people. It is impossible to overestimate its role in our days.

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

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

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

It premiered on March 5, 1942 in Kuibyshev, and on August 9 it was performed in besieged Leningrad. The success of the symphony was enormous. Within a short time it sounded in many countries of the world. Leading conductors of the world fought for the right to perform it. In the US alone, during the 1942-43 season, it was performed 62 times. The concerts turned into rallies in support of warring Russia. The American writer M. Gold wrote: "Shostakovich is perhaps the greatest composer of our time." An appeal to the heroic-patriotic theme is also noted in the symphonic works of other composers. The most significant works are: "Second Symphony" by A. Khachaturian, "With a Bell" and "Fifth Symphony" by S. Prokofiev. But the most significant event in his work was the opera "War and Peace" written based on the novel by L. Tolstoy. The theme of the military history of Russia has become the basis in the musical theater. There were "Suvorov" by S. Vasilenko, "Dmitry Donskoy" by V. Kryukov, "Emelyan Pugachev" by M. Koval, A. Khachaturian's ballet "Gayane".

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

Cinematography. Film workers considered themselves mobilized and called to the front. The main content, the main task is the spiritual mobilization of the people, aimed at fighting the enemy. Documentaries were the first to respond to the events of the first days of the war. Cameramen took part in all operations, filmed from aircraft, tanks, on the decks of warships. Many of them were abandoned behind enemy lines, where they participated in the raids of partisan detachments, filmed the daily feat of the "people's avengers".

The first films were released in July 1941: "Girlfriends to the Front", "Chapaev with Us". Favorite characters from the screen turned to the viewer with a call to fight the enemy. "Combat film collections" were created. They were attended by such directors as G. Aleksandrov, B. Burnet, S. Gerasimov, Vs. Pudovkin and others. The audience saw their favorite actors on the screens - L. Orlova, B. Babochkin, M. Ladynina, N. Kryuchkov, N. Cherkasov and many others.

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

The films "Two Soldiers" by L. Lukov, "A Guy from Our City", "Wait for Me" by A. Stolper, "At Six Hours After the War" by I. Pyryev, "The New Adventures of Schweik" by S. Yutkevich and others were very popular. Cinematography fought alongside its people. It was able to reveal the patriotism of people, because the hero was a participant who fought at the front and in the rear, and also because the main goal was to serve his people. Films about the great battle of a great country against fascism have gone down in history, but the further time passes, the more valuable they are for us. Artistic tapes become "documentary" because they captured the time. Actors did not play their characters, they were part of their lives.

findings

During the war, according to the Extraordinary State Commission for the Investigation of the Atrocities of the Nazi Invaders, published in Pravda in September 1945, a total of 430 museums out of 991,44 thousand palaces of culture and libraries were destroyed and looted. The museum houses of L. N. Tolstoy in Yasnaya Polyana, A. S. Pushkin in Mikhailovsky, I.S. Turgenev in Spassky-Lutovinev, P.I. Tchaikovsky in Klin. Irreversibly lost to Russian culture were the frescoes of the 12th century in St. Sophia Cathedral in Novgorod. Paintings by Repin, Serov, Shishkin, Aivazovsky perished. All this could not but affect the development of Soviet artistic culture after the war.

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

Questions for self-examination

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

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

3. List the works of fine art by A. Daineki, A. Plastov, Kukryniksy.

4. Name the composer of the "Seventh Symphony"

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

6. Name the films created during the Great Patriotic War, revealing the feat of the Soviet people.

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During the Patriotic War, artists, graphic artists, sculptors, like the entire Soviet people, fought with a bayonet and a pen. From the first days of the declaration of war, cartoons and posters appeared in newspapers, magazines, campaign leaflets and leaflets calling for the fight against the Nazis. Artists and sculptors also did everything they could for the front and for victory. During the war, works of fine art, bright in terms of artistic and emotional perception, were created, which even today appeal to patriotism, not leaving the audience indifferent.

The penetrating language of a military poster

The patriotic poster has become an effective ideological weapon. Vivid artistic images were created with a minimal set of graphic tools in a short time. The images on the poster were accessible and understandable to all citizens. The heroes of the posters evoked empathy, hatred for the enemy and love for the Motherland, an ardent desire to stand up for the Fatherland.

The creators of the posters and their works have become classics of Soviet patriotic graphics. Textbook examples:

• artist I. Toidze and his "Motherland Calls";
• D. Shmarinov demanding "Revenge";
• V. Koretsky, calling "Warrior of the Red Army, save!".

V. Ivanov, V. Kasiyan, A. Kokorekin, L. Golovanov and others are called classics of the Soviet patriotic poster.

sharp feather cartoon

During the Patriotic War, art graphics are most clearly represented by satirical caricature. The classics of Soviet cartoons Kukryniksy work in the Pravda newspaper and other printed publications. Caustic caricatures of the Nazis appear almost daily, calling on citizens to resist, telling how cruel and insidious the enemy is and how to fight him.

In besieged Leningrad, cartoonists maintain morale by publishing the Fighting Pencil magazine. In Georgia, cartoonists publish the almanac "Bayonet and Feather", in which the master L.D. Gudiashvili. Cartoonists Boris Efimov, M. Cheremnykh collaborated with TASS Windows, promptly responding to everyday events at the fronts. Humor and satire inspired the fighters, directed the just anger of the people to the sacred struggle.

Military easel graphics

During the war period, easel graphics actively developed. This type of fine art, dynamic and concise in terms of artistic means and techniques, did not require special artistic materials. Pencil and charcoal were always at hand and allowed the artist to make drawings, documenting what he saw and his impressions on paper.

Sketches by M. Saryan, lithographs by Vereisky, watercolor drawings by A. Fonvizin, engravings by S. Kobuladze became classics of the genre. The life of besieged Leningrad is reflected in the gouaches by artists Y. Nikolaev and M. Platunov, in watercolor and pastel drawings by E. Belukha and S. Boym. A series of graphic sketches by Dm. Shmarinov "We will not forget, we will not forgive!" was started in 1942 in the cities liberated from the Nazis. Made with charcoal and black watercolor.

Military everyday life and life captured the drawings of L.V. Soyfertis in black watercolor. Series "Sevastopol", "Crimea", "Caucasus" were created from 1941 to 1944. Genre pictures are filled with pride for the Soviet people, optimism, glorify the fighting spirit of the people.

Patriotic war and its heroes in paintings

Military painting, including battle canvases, at the initial stage of the war did not differ in the depth of detail. However, these canvases captivate with the depth of feelings, the liveliness of impressions that the artist wanted to convey. The portrait genre is especially developed. The artists, inspired by the heroic deeds of the fighters, sought to capture the spiritualized and expressive faces of the heroes.

One of these paintings was "Portrait of a partisan commander" by F. Modorov, 1942. The artist painted a whole gallery of portraits of ordinary partisans and military commanders. In a combat situation and in the office, the heroes of the war are concentrated and resolute, they are confident in themselves and in the future victory. Also in 1942, the portrait of Major General Panfilov was painted by the artist V. Yakovlev. On the shoulders of the commander is a camping short fur coat, in his hands - binoculars. It seems that he is only from the front line, but is already ready to go into battle again.

Battle scenes, heroic resistance to the enemy were depicted in the monumental canvas by A.A. Deineka "Defense of Sevastopol" 1942. For a moment, the figures of sailors, repelling enemy attacks, froze. Now bundles of grenades will fly at the Nazis, some of the enemies have already been killed. The intensity of the battle is enhanced by the red sunset that serves as a backdrop. Sunlight struggles with black puffs of smoke in the same way as sailors in white robes with fascists in dark green uniforms. The contrast of movement - a swinging sailor and a lying fascist, and the contrast of color - a red-black sunset and the bright white uniform of the sailors give the canvas a special artistic expression. She also inspires the viewer, who is sure of victory over the enemy.

Household and genre painting of the period of the Great Patriotic War

Painters from besieged Leningrad V. Raevsky, V. Pakulin, N. Rutkovsky, N. Timkov managed to capture the life of Soviet people in the besieged city with documentary accuracy. From the painting by Y. Nikolaev "The line for bread", 1943. cold and frost blows on the viewer, along with the hope of waiting for bread rations. Hope did not leave the townspeople, and they managed to survive!

Kuryniksy M.V. Kupriyanov, P.N. Krylov, N.A. Sokolov, having learned about the execution of the partisan Zoya Kosmodemyanskaya, arrived at the place of her death. Based on fresh impressions, they painted the canvas “Tanya”. An exhausted girl, a moment before her death, rebelliously and with hatred looks into the eyes of the executioners. Zoya is not broken, she holds her head straight, it seems that the girl will speak. Her confidence and strength of mind is transmitted to the audience.

Monumental art during the Patriotic War

During the difficult period of the war, monumental art was also in demand. Sculptors went to the front, creating sketches and portraits from nature in difficult combat conditions. Soviet muralists sought to depict the patriotic upsurge of the people: military scenes and heroic labor in the rear. This gave a new impetus to the development of genre and monumental sculpture.

The bronze bust of General Chernyakhovsky 1945-1946, made by E. V. Vuchetich, became canonical. The statue "Politruk" was created by him in 1942. The political instructor raises fighters to attack, his heroic impulse is transmitted to all those present. Many sculptors who visited the front created busts and portraits of ordinary soldiers and military commanders. Among them:

• works by L. E. Kerbel - portraits of heroes-pilots;
• I. G. Pershudchev - a portrait of General Kovpak, medical instructor Masha Shcherbachenko, soldiers with the banner of Victory Sergeant M. A. Egorov and Sergeant M. V. Kantaria;
• V. and Mukhina - portraits of colonels B. A. Yusupov, I. Ya. Khizhnyak;
• N. V. Tomsky - a portrait of twice Hero of the Soviet Union M. T. Goreev.

During the Patriotic War, artists not only reflected the military realities and the struggle of the Soviet people, but also developed and improved artistic culture, supported the people's fighting spirit, faith in victory, and inspired them to exploits.

Content
1. Introduction. 4
2. Art during the Great Patriotic War.
2.1. Cinema. 5
2.1.1. Military chronicle and film novels.
2.1.2. Art films.
2.2. Art. ten
2.2.1. Propaganda poster as the main form of fine art during the war years.
2.2.2. Painting, sculpture, graphics.
2.3. Music of the military period. sixteen
3. Conclusion. nineteen
Bibliography. 20

1. Introduction
The Great Patriotic War is one of the brightest and most tragic pages in the history of our country. The war became a terrible test for the entire Soviet people. A test of courage, resilience, unity and heroism. To survive in the confrontation with the most powerful of the developed countries of that time - fascist Germany - became possible only at the cost of enormous exertion of forces and the greatest sacrifices.
During the war, the ability of our people to endure the most severe social overloads, developed by thousands of years of Russian experience, was clearly manifested. The war once again demonstrated the amazing "talent" of the Russian people to reveal all their best qualities, abilities, their potential precisely in extreme conditions.
All these popular feelings and moods were manifested not only in the mass heroism of Soviet soldiers at the front, but also in the rear. The flow of volunteers to the front did not dry out. Tens of thousands of women, teenagers, old people stood at the machines, mastered tractors, combines, cars to replace husbands, fathers and sons who had gone to fight.
The war, with its grief, the loss of loved ones, suffering, the enormous strain of all the spiritual and physical strength 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 abstract tells about the huge contribution to the great cause of the Victory, which was made by the artistic intelligentsia, who shared the fate of the country together with the whole people. While working on the abstract, I studied a number of articles and publications. I learned a lot of interesting things for myself in the book by P. Toper “For the sake of life on earth ...” The book is a broad study of world literature devoted to the military theme, tells about the works of this period, their ideological orientation and heroes. Of great interest were the collections “The Second World War: Cinematography and Poster Art”, as well as “The History of Moscow during the Great Patriotic War and in the post-war period”, which introduced me to famous filmmakers, artists, musicians and their works. The textbook for preparing for the exams "Russian Literature of the 20th Century" gave me the necessary theoretical base. Also, Internet resources contributed to the successful work on the abstract.

2. Art during the Great Patriotic War

The Great Patriotic War opened the artist's gaze to a scattering of material that concealed enormous moral and aesthetic wealth. The mass heroism of people has given art as human science so much that the gallery of folk characters begun in those years is constantly replenished with new and new figures. The most acute life conflicts, during which the ideas of loyalty to the Fatherland, courage and duty, love and comradeship, were manifested with particular brightness, are capable of nourishing the plans of the masters of the present and future.

2.1. Cinema
243 documentary cameramen 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 professional - a movie camera.
Newsreel in all its forms was brought to the fore. The work of front-line cameramen is a constant creative search, selection from a huge amount of footage of the most important thing in the harsh everyday life of the Great Patriotic War.
In the first months of the war, the Leningrad, Kyiv, Minsk newsreel studios were put out of action. The Moscow film studio remained, which became the organizing center, managed to quickly staff the front-line film groups and send them to the army in the field. 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 "Film Reporting from the Fronts of the Patriotic War." Combining newsreel materials into newsreels and films was carried out at the main headquarters - the Central Newsreel Studio in Moscow.
For the needs of film crews filming the fighting of our pilots, the Air Force command allocated a large number of special narrow-film film cameras. Together with aircraft designers, the best places were found for installing them on aircraft: the devices were paired with aviation small arms and turned on simultaneously with the shot.
About 250 cameramen worked on the fronts of the Great Patriotic War. The main core of front-line newsreels were operators hardened on the labor fronts of the first five-year plans - R. Karmen, M. Tronevsky, M. Oshurkov, P. Paley. But there were many talented young people who later became part of the golden fund of Russian cinematography - V. Sushchinsky, Y. Leibov, S. Stoyanovskiy, I. Belyakov, G. Bobrov, P. Kasatkin, B. Nebylitsky ... She was filming for about six months in a partisan unit operating behind enemy lines in the Moscow region, cameraman M. Sukhova. Cameraman B. Pumpyansky filmed the battle for the liberation of the Chop station by the Soviet troops, which lasted 5 hours, not looking away for a minute from the camera lens ...
Each major battle, which had a milestone in the course of the Great Patriotic War, was dedicated to a separate full-length documentary, and especially important events - short films or front-line releases.
So, the days and nights of the heroic defense of Moscow were recorded on film by the operators of the Central Newsreel Studio. Since November 1941, the studio began to release the film magazine "In Defense of the Native Moscow". The first battles with fascist aircraft in the sky of the capital were filmed day by 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 "The Day of the New World". On June 23, 1942, 160 operators recorded the main events of the 356th day of the war on all fronts, as well as the work of the rear. The captured 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 a triumphant success on the screens of the whole world (more than 7 million viewers watched it in the USA alone) and was awarded the highest award of the American Film Academy - the award Oscar for Best Foreign Documentary of 1942.
The last documentary film of the war years was the film "Berlin" directed by Y. Railman, created in 1945. Its demonstration opened the first post-war international film festival in Cannes. The French newspaper "Patriot de Nisdu Sud Est" wrote then: "The realism of "Berlin" borders on hallucination. Pictures from nature are mounted with amazing simplicity and give the impression of a reality that only Soviet cinema has achieved ... In "Berlin" victory is achieved mainly thanks to "Berlin" gives us a wonderful lesson in the art of cinema, and the unceasing applause of critics and the public is the best evidence of this."
In total, during the war years, 34 full-length documentaries, 67 short films, 24 front-line releases 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 USSR State Prize.
For the creation of a film chronicle of the Great Patriotic War, the Central Newsreel Studio was awarded the Order of the Red Banner in 1944. For the documentary and journalistic epic "The Great Patriotic War", which consisted of 20 full-length films, a large team of its creators, headed by the 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 Studio of Documentary Films, the Central Studio of Children's and Youth Films named after M. Gorky. A marble pylon with the names of the dead documentary filmmakers of the Mosfilm film studio rises on the territory of the studio. And next to it is a sculptural composition, which is a torn concrete block with high relief images of heroic episodes of the war, made by sculptor L. Berlin, architects E. Stamo and M. Shapiro and installed here in May 1965.
Artistic cinematography has become different than before the war, but still a powerful means of ideological education of the masses. Masters of artistic cinematography sought to tell about the heroes of the front and rear in such a way that their exploits would inspire thousands and tens of thousands of soldiers, officers, partisans, and home front workers to new heroic deeds.
The war posed difficult tasks for Soviet cinematography. Solving them, film workers showed great courage and soldierly prowess. As early as June 22, 1941, documentary filmmakers made the first combat footage, and on June 25 Soyuzkinozhurnal No. 70 included the first military episode.
The Moscow Chronicle Film Studio played an outstanding role in documenting the events of the war, in creating operational military film reports and large documentary films about battles and campaigns. The studio has united many creative workers of feature films. Having created a kind of headquarters in Moscow - the Central Chronicle Studio, documentary filmmakers organized film groups at each front.
A prominent place in the work of documentarians was occupied by the theme of the defense of Moscow, the heroic deeds of Muscovites. Already in the summer of 1941, 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 Our Native Moscow”. The full-length journalistic film “The Defeat of German Troops near Moscow”, edited by directors I. Kopalin and L. Varlamov from the filming of dozens of cameramen, became a stage in the development of documentary films. This film was followed by works about the defense of Leningrad, about the epic on the Volga, about partisans, about the battle for Ukraine, and later, in 1944-1945, about the liberation campaign of the Soviet Army, about the capture of Berlin and about the defeat of imperialist Japan. These and many other films were created in the overwhelming majority by Moscow directors and cameramen. Many glorious "fighters with movie cameras" died at the front.
The Moscow Film Studio of Popular Science Films also did 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 way, renamed Voentekhfilm. Directors V. Suteev, V. Shneiderov and others created the films "German Defense and Overcoming It", "Infantry in Battle", "Destroy the Enemy's 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, and on providing first aid to victims of bombing.
In the very first days of the war, the Mosfilm studio in Moscow began filming short film novels, original movie posters about the war. Among them were both satirical (Hitler's Dream about the defeated dog-knights, Napoleon, the invaders of 1918 and other unfortunate conquerors), and heroic (about the exploits of Soviet intelligence officers, border guards, tankers). The heroes of some short stories were well-known movie heroes loved by the people: Maxim, the postman Strelka, three tankers; in others, new characters appeared who were destined for a long screen life: the brave soldier Schweik, the dexterous and fearless soldier - cook Antosha Rybkin - Vasily Terkin's "brother". Film novellas widely used material from pre-war films about Alexander Nevsky, Peter I, and V. I. Chapaev. These film novels, filmed in the very first months of the war at the Moscow film studios Mosfilm and them. A. M. Gorky, as well as at Lenfilm, then they were combined into full-length “Combat Film Collections” under the general title “Victory is ours!”
The artistic cinematography also faced a second, no less important task - to complete, despite the war, all the valuable feature films that had been started in production before the Nazi attack on the USSR. And these 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 must now be defended with arms in hand.
The ebullient cinematographic activity did not stop in Moscow for a single minute. However, on the most difficult days, when the fighting was going on 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 feature film about the Great Patriotic War was "Secretary of the District Committee", directed by I. Pyryev according to the script by I. Prut. In the center stood the image of the party leader. The authors of the film, with great propaganda power and artistic skill, revealed on the screen the people's origins of the image of a communist who raised people to a deadly fight with the enemy. District committee secretary Stepan Kochet, played by the wonderful actor V. Vanin, rightfully opened a gallery of large-scale, vivid characters of the Soviet cinema of the war years.
A new step towards comprehending the truth of war was made by feature cinema in the film She Defends the Motherland (1943). The importance of this picture, filmed by director F. Ermler according to the script by A. Kapler, was primarily in the creation of the heroic, truly folk character of a Russian woman - Praskovya Lukyanova - embodied by V. Maretskaya.
An intense search for new characters, new ways to solve them was crowned with success in the film "Rainbow" (1943) with the actress N. Uzhviy in the title role, staged by M. Donskoy according to the script by Wanda Vasilevskaya and filmed at the Kyiv film studio. In this work, the tragedy and the 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 receives worldwide recognition and becomes the first Soviet film to receive an Oscar. Natalya Gebdovskaya, actress of the film studio. Dovzhenko, said in her memoirs that she “was crying 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 was translating "Rainbow" for Roosevelt at the White House. Roosevelt was extremely excited. His words after seeing the film were: "The film will be shown to the American people in its proper grandeur, accompanied by commentary by Reynolds and Thomas." After that, he asked: “How can we help them now, immediately?”
The best films of the Central United Film Studio were dedicated to the partisan struggle, to the brave and proud Soviet people who did not bend before fascism, who did not stop 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 for the fight against fascism was played by the film adaptation of the works of K. Simonov, carried out by director A. Stolper (the film "A Guy from Our City"), A. Korneichuk's play "The Front" (directed by G. and S. Vasiliev).
The films “The Great Land” directed by S. Gerasimov, “Native Fields” directed by B. Babochkin according to the 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 at Mosfilm during the war years was Kutuzov (directed by V. Petrov) with A. Diky in the title role.
To acquaint the units of the active army with the latest achievements of the performing arts, the genre of concert films was developed and gained popularity, in which musical, theatrical, ballet and variety numbers were combined according to thematic, national or other principle. Work also continued on the film adaptation of literary works (“The Wedding” and “Jubilee” by A.P. Chekhov, “Guilty Without Guilt” by A.N. Ostrovsky). Several historical-revolutionary films were staged.
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 a place of honor in Soviet culture for a special type of cinematography - figurative journalism.

2.2 Visual arts

2.2.1. Propaganda poster as the main form 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 the military industry, high results were achieved, society mobilized and worked for victory. Artists, together with all the people, stood in military formation. The young masters went to the military registration and enlistment offices to sign up as volunteers for the Red Army. 900 people - members of the Union of Artists fought on the fronts, were soldiers. Five of them became Heroes of the Soviet Union.
In the twentieth century, political posters were nowhere in the world given such great importance as in the USSR. The situation demanded a poster: revolution, civil war, colossal construction, war against fascism. The authorities set great tasks before the people. The need for direct and quick communication - all this served as the basis for the development of the Soviet poster. He spoke to millions, often solving the problems of life and death with them.
The poster during the Great Patriotic War achieved great success. This period is comparable in scale 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 have become classics of Soviet art. In its spirit, in its ability to respond mobilely to today's events, 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 alerting urgent news from the front and rear. The most important information had to be conveyed by the simplest and most effective means and at the same time in the shortest possible time.
Each period of the war had its own tasks, all of which required an urgent solution. The poster served as a means of transmitting information to those areas in which there were no communication lines that were occupied, but where Soviet partisans were operating. The posters have become extremely popular. Their content was retold from mouth to mouth, became popular rumor.
"...Night. Local residents come to the aid of the scouts. Quietly, sneaking in the darkness along the village streets and lanes, carefully avoiding the German guards and patrols, fearless patriots paste up, and in the event that this fails, they lay out colored panels of Soviet posters and TASS Windows on the ground. Posters are glued to fences, sheds, houses where the Germans are.
Posters distributed in the deep 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, very often learns the truth about the war from these posters that appeared from nowhere ... ”, - this is how a veteran of the Great Patriotic War talks about the poster.
Due to the lack of time, not all posters were made with high quality, but, despite 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, were published by the political agencies of the Red Army and the Navy, and newspaper editorial offices. Just as often, posters were made by hand and stenciled, which speeded up their production, but made it impossible to distribute in thousands of copies.
Many artists worked in the genre of poster art during the Great Patriotic War, who neither before the war nor after the war were engaged in poster art.
Poster artists promptly responded to the events of the first days of the war. Within a week, five poster sheets were issued in mass editions, and more than fifty more were being prepared for printing in publishing houses. By the evening of June 22, 1941, the Kukryniksy (M. Kupriyanov, P. Krylov, N. Sokolov) created a sketch of the poster "We will mercilessly defeat 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,” the book “The Second World War: Cinema and Poster Art” tells, “the bayonet of a Red Army soldier pierced Hitler’s hand, so the poster sounded more like a warning. But it was already printed with a different plot. The bayonet pierced right 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 time. 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, a newspaper page or a poster, at the first moment notices the upper right square, and from there his gaze moves to the rest of the image. Thus, the upper right square, and in general the right side of a picture or poster, from the point of view of the psychology of visual perception, occupies a special place. On many military posters, it is in this place that the 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 decision helps to reveal the content in a deeper way, increases the expressiveness of the work.
In addition to the above, from June 22 to June 29, 1941, N. Dolgorukov’s posters “So it was ... So it will be!”, “We will sweep away the fascist barbarians from the face of the earth”, Kukryniksy “Napoleon was defeated, will also be with the arrogant Hitler”, A 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 cartoons of the 30s. The artists skillfully used the language of metaphor, satirical allegory, the plane of a white sheet, on which the silhouette of the figures clearly loomed and the slogan was well read. Plots of confrontation of forces were popular: the evil aggressive and the just defending.
Especially many satirical posters were created during 1941. Among them, a number of interesting posters can be listed: Kukryniksy “The vegetarian cannibal, or two sides of the same coin”; B. Efimov, N. Dolgorukov “Performed - had fun, retreated - shed tears”; N. Dolgorukov "So it was ... So it will be!"; Kukryniksy "We will cut off the paths of the evil enemy, from the loop, he will not escape from this one!". The satirical poster showed the enemy in a comical light both when he was formidable and dangerous at the beginning of the war, and at the time when the German army began to suffer its first defeats. In the poster "The devil is not so terrible as he is painted," the Kukryniksy presented a scene from Berlin court life. In reality, the Fuhrer was thin, but on the canvas he is a strong man with big biceps.
Bright posters were created by I. Serebryany “Nakosya, 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 produced by Okna TASS.
etc.................

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. During the Second World War, the following types of art were especially developed: literature, painting, graphics and cinema.

Literature is a weapon of struggle

During the Second World War, prose writers, poets and playwrights create the image of a warring people and the enemy opposing it, the mood of every citizen of the country is formed. It was important to tell who to fight, WHAT fascism brings to the people as a whole and to the individual. Literature has become a weapon of struggle. We can highlight the features of the literature of the war years:

• A combination of journalistic and artistic comprehension of what is happening;
• Maximum consideration of the situation in the theater of operations and in the rear;
• Mobility in response to events.

Major literary genres and works

During the Great Patriotic War, such genres as an essay (P. Lidov - "Tanya"), a ballad (N. Tikhonov, K. Simonov), a poem (A. Tvardovsky "Vasily Terkin", O. Berggolts "Leningrad Poem" ), a lyric poem (A. Akhmatova, B. Pasternak), etc. During the war, small genres were popular, as 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 Terkin" by A. Tvardovsky. The main character of the poem captures all the best features of a Russian person. Turkin is a simple kind guy with a generous heart, who loves life and looks forward with optimism, he is brave, but not at all proud. This is a collective image of a brave, steadfast and cheerful Russian soldier.

The rich literary experience of those years showed what a powerful and uplifting force a truthful word can become, aimed at fighting for an ideal. Literature of the 40s showed us the patriotic and humanistic principle, nationality, solidarity of Soviet citizens. The heroes of many works were real people, participants in the war.

WWII painting

The main theme of painting in those years was, of course, military. The artists reflected in their works the fascist threat, harsh everyday life, hatred for the enemy, the suffering of the Soviet people, and grief for the dead. At the beginning of the war, there was a hasty fixation of what he saw, which did not exclude the depth of thought (Y. Nikolaev "For Bread", V. Pakulin "Neva Embankment. Winter"). In the middle of the war, laconicism, simplicity, and straightforwardness were observed in painting. By the end of the war, the pictures become more complex, with developed dramaturgy.

The main genres and works of painting

The following genres have developed:

• Portrait painting (P. Konchalovsky "Self-portrait", M. Saryan "Portrait of the writer M. Lozinsky");
• Landscape sketches (A. Plastov "The Nazi flew by", K. Yuon "Parade on Red Square on November 7, 1941");
• Historical canvases (A. Bubnov "Morning on the Kulikovo field", M. Avilov "Duel of Peresvet with Chelubey").

Thus, the war becomes the main theme in all genres: in historical painting, the artists turned to the military past, in portrait painting they depicted war heroes and home front workers, even the landscape acquires a patriotic focus.

Inspiring graphics

The 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 these posters corresponded to propaganda tasks. The first poster inspiring people to a feat appeared already on June 23, 1941: “We will mercilessly defeat and destroy the enemy” (Kukryniksy). The poster is one of the leading genres of fine art in the 1940s.

Cinema - in the defense of the country

And the cinema did not remain indifferent to the terrible events of those years. Documentaries, chronicles, film reports were created. The plots for the films were, again, the struggle of the Soviet people against the invaders, major battles and the hard everyday life of workers in the rear are shown. During the war, such well-known feature films as "A Guy from Our City", "Secretary of the District Committee", "Wait for Me", "Two Soldiers" were shot, the fame of which does not subside even today. Documentary films were also filmed: “The Battle for Sevastopol”, “Berlin”, “The Defeat of German Troops near Moscow”, etc.

Thus, in the early 40's. all the forces of artists were thrown at the truthful depiction of the tragedy of the war and the glorification of the feat of the Soviet people. We 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 submitted to anyone.

The war forced a new, deeper and more serious sense of the value of everything that the enemy encroached on, that he wanted to take away and destroy.
In order to reflect the selfless and heroic struggle of the people, art needed a special depth and power to reveal feelings, increased emotionality, penetration into the inner life of a person, into the meaning of phenomena. It was necessary not only to illustrate individual facts and events, but to create images that carry great feelings and experiences that correspond to the high patriotic upsurge of the Soviet people.

During the years of the Great Patriotic War, Soviet artists, like the entire people, manifested with particular force a patriotic feeling, an interest in the national past of our Motherland, in its best centuries-old traditions.
The famous battle painter M. I. Avilov dedicated his painting “The Duel of Peresvet with Chelubey” (1943) to the historical victory of the Russian people in the Battle of Kulikovo.

A number of paintings on historical themes were painted during the war years by the artist P. P. Sokolov-Skalya. The most significant of them is “Ivan IV in Livonia. The capture of the fortress Koken Gauzen ”(1940-1942) - dedicated to the victory of the Russian people over the Livonian dogs by the knights.

The oldest Soviet artist N. P. Ulyanov created the image of the great Russian commander M. I. Kutuzov in the painting “Lauriston at Kutuzov’s Headquarters” (1945).

People's Artist of the RSFSR E. E. Lanceray painted a series of small paintings in gouache, united by the common title "Trophies of Russian weapons." The author decided to show the great victories of Russian weapons in various historical eras: “After the Battle on the Ice”, “On the Kulikovo Field”, “Poltava Victory”, “1812”, etc. Death prevented the artist from completing this interesting work.

The noble task of embodying in art the images of our great ancestors, whose historical exploits inspired the Soviet people to fight the enemy, was set by many masters of art.

“I painted it,” says the artist, “during the harsh years of the war, I painted the rebellious proud spirit of our people, which “at the hour of judgment of its existence” rose to its full gigantic height.”

The themes of the historical past were closely intertwined with the themes of the heroic present. The artists were witnesses and direct participants in swift attacks and military assaults, heavy military campaigns and bloody battles. Time didn't wait. It was necessary to write from living impressions. The artists worked with all their might. The paintings were not always successful, some of them lacked the depth of disclosure of the topic, the power of generalization. But not one of them could be deprived of the main thing - sincerity and passion, the consciousness of a high patriotic duty.

The picture of the victorious offensive of the Soviet troops was captured in one of the first battle paintings of the war years by the artist V. N. Yakovlev (“Fight under the settlement of Streletskaya”, 1942).

The artist A. A. Deineka in the painting "Defense of Sevastopol" (1943) showed the unprecedented courage and stamina of the sailors - the defenders of the hero city.

He also painted the pictures “The downed fascist ace”, “Airborne assault on the Dnieper” and others.

In the difficult days of the blockade, the artists of Leningrad did not stop working for a single day. About the courage, extraordinary willpower, exceptional perseverance and patience of Leningraders, who heroically endured the exorbitant hardships of life in the conditions of a besieged city, they told in their canvases.

The triumph of the great victory of the Soviet Army over the enemy is imbued with a large battle painting “Breakthrough of the blockade on January 18, 1943”, written by a team of Leningrad artists consisting of A. A. Kazantsev, I. A. Serebryany, V. A. Serov.

The picture depicts the joyful moment of joining the troops of the two fronts. It was created by artists shortly after the blockade was broken, when recent experiences and sorrows were still fresh in the memory of people, when the earth itself still kept traces of fierce battles.

During the years of the Patriotic War, many young artists came to the fore, for whom work on battle themes was a great and fruitful school of ideological and creative growth.

Among them, pupils of the Grekov Studio of Military Artists showed themselves most clearly. Founded in 1934 as a training center, during the war it turned into a combat team of professional military artists. Their work proceeded on the front lines. The students were direct participants in the battles near Moscow, the great battle on the Volga, the crossing of the Dnieper and the storming of Berlin.

Among this talented youth, the battle painter P. A. Krivonogov especially came to the fore. In 1945, he created the painting "Korsun-Shevchenkovsky", in which he captured one of the big battles in the Right-Bank Ukraine, during which 11 German divisions were surrounded and destroyed. The artist witnessed this operation, which determined the authenticity and documentary accuracy of the painting.

Along with the historical, battle and everyday genres, portraits and landscapes occupied a prominent place in Soviet wartime painting.
The art of the artist A. M. Gerasimov reached a high flowering. In 1944, he painted one of his best works - a group portrait of the oldest Russian artists V. N. Meshkov, I. N. Pavlov, V. K. Byalynitsky-Birul and V. N. Baksheev.

A whole gallery of portraits of Belarusian partisans was left to us by the artist F. A. Modorov. Here are people of various ages and ranks, well-known illustrious commanders and ordinary participants in partisan raids. The artist focused on revealing the inner world of everyone, lovingly painted their courageous simple faces.

New features are also noted in landscape painting. The artists put the excited feelings of Soviet patriots into the military landscape. They showed peaceful villages and towns burned down by the enemy, barbarously destroyed cultural monuments. The menacing breath of war filled these landscapes with a heroic sound.

Not only painters, but also masters of sculpture took part in the nationwide struggle against the enemy.

The Patriotic War set before them an extremely difficult and noble task - to perpetuate for posterity the images of the defenders, the Soviet country, the heroes of the front and rear, the brave partisans. Therefore, one of the leading genres of sculpture was the portrait, which revealed the best qualities of the Soviet people, their spiritual nobility and courage.

The images of war heroes were most vividly embodied in the work of V. I. Mukhina. With external modesty and restraint of compositional decisions, Mukhina always managed to reveal the richness of the inner life of the person being portrayed, to create a real heroic portrait. Such are the portraits of colonels B. A. Yusupov (1942), I. L. Khizhnyak (1942), a portrait of a partisan.