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.

Kuleva Julia

History essay with presentation

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Municipal educational institution

"Melekhovskaya Basic Comprehensive School No. 2"

ESSAY

"When the guns fired..."

(literature and art during the Great Patriotic War).

Kuleva Julia

Teacher:

Kuleva

Natalia Victorovna

Melehovo 2009

Plan

1. Introduction.

2. Literature during the Great Patriotic War.

2.1 Poetry of the war years.

2.2 Military journalism.

2.3 Tales and novels about the war.

3. Art during the Great Patriotic War.

3.1. Cinema.

3.1.1. Military chronicle and film novels.

3.1.2. Art films.

3.2. Art.

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

3.2.2. Painting, sculpture, graphics.

3.3. Music of the military period.

4. Conclusion.

Bibliography.

1. Introduction

The Great Patriotic War is one of the brightest and most tragic pages in the history of our country. The war became a terrible test for the entire Soviet people. A test of courage, resilience, unity and heroism. To survive 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. Literature during the Great Patriotic 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 were heard: "Every Soviet writer is ready to devote all his strength, all his experience and talent, all his blood, if necessary, to the cause of a holy people's war against the enemies of our Motherland." These lofty words were justified. From the very beginning of the war, the writers felt themselves "mobilized and called." About two thousand writers went to the front. Five hundred of them were awarded orders and medals. Eighteen became Heroes of the Soviet Union. More than four hundred of them did not return. These are A. Gaidar, E. Petrov, 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 lived our good age as people and for people.”

Writers lived one life with the fighting people: they froze in the trenches, went on the attack, performed feats and ... wrote.

Oh book! Treasured friend!

You're in a fighter's duffel bag

Went all the way victorious

Until the end.

your big truth

She led us along.

We went to battle together.

Russian literature of the period of the Second World War became the literature of one theme - the theme of war, the theme of the Motherland. The writers felt like "trench poets" (A. Surkov), and all literature as a whole, in the apt expression of A. Tolstoy, was "the voice of the heroic soul of the people." The slogan "All forces - to defeat the enemy!" related directly to writers. The writers of the war years owned all sorts of literary weapons: lyrics and satire, epic and drama. Nevertheless, the first word was said by the 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, memorized. Poems "Wait for me" by Konstantin Simonov, "Dugout" by Alexander Surkov, "Spark" by Mikhail Isakovsky gave rise to numerous poetic responses. The poetic dialogue between writers and readers testified to the fact that during the war years a cordial contact was established between the poets and the people, unprecedented in the history of our poetry. Intimacy with the people is the most remarkable and exceptional feature of the lyrics of 1941-1945.

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

During the war, the feeling of homeland intensified. Cut off from their favorite occupations and native places, millions of Soviet people, as it were, took a fresh look at their familiar native lands, at the house where they were born, at themselves, at their people. This was also reflected in poetry: penetrating poems about Moscow by Surkov and Gusev, about Leningrad by Tikhonov, Olga Berggolts, and Isakovsky about the Smolensk region appeared.

Here are the lines from a poem by Nikolai Tikhonov dedicated to Leningrad:

More than once, like waves, there were enemies,

To break it on granite.

Disappear in a foamy whirlwind of spray,

Sink without a trace into the black abyss

And he stood, big as life,

With no one similar, unique!

And under the fascist guns howl

As we know it

He took the fight like a sentry

Whose post is forever irreplaceable!

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

... We are now living a double life:

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

We breathe tomorrow

Free, generous day.

We have already conquered this day.

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

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

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

Farewell my sun. Farewell, my conscience.

Farewell, my youth, dear son.

Let the story end with this goodbye

About the most deaf of the deaf loners.

You stay in it. One. Detached

From light and air. In the agony of the last

Nobody told. Not resurrected.

Eighteen years old forever.

Oh, how far are the roads between us,

Going through the centuries and through

Coastal those grassy spurs,

Where the broken skull gathers dust, snarling.

Goodbye. Trains don't come from there.

Goodbye. Planes don't fly there.

Goodbye. No miracle will happen.

And we only dream. They fall and melt.

I dream that you are still a small child,

And happy, and you trample your bare feet

The land where so many are buried.

During the war years, A. Tvardovsky's poem "Vasily Terkin" was very popular, the chapters of which were published in front-line newspapers and passed from hand to hand by soldiers. The collective image of the Russian soldier, brave, hardy, never discouraged, who marched with the liberating army to Berlin, became a true favorite, taking a firm place in front-line folklore.

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

The Great Patriotic War found Alexei Tolstoy already a well-known writer (in 1941 he finished the third book of his famous novel "Walking Through the Torments"), at the age of 58.

The attack on our country by the fascists evoked an angry, protesting response from the patriotic writer. On the fifth day of the war, the first article by A. Tolstoy “What we are defending” appeared in the Pravda newspaper, in which the writer called on the Soviet people to defend their homeland with their breasts. Tolstoy wrote in it: “To defeat the armies of the Third Empire, to wipe out all the Nazis with their barbaric and bloody plans, to give our homeland peace, tranquility, eternal freedom, abundance. Such a lofty and noble task must be carried out by us, the Russians, and by all the fraternal peoples of our Union.”

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

In these articles, the writer often refers to folklore, to Russian history, notes the features of the Russian character, the dignity of Russian people. The articles often refer to Russian folk tales (in Army of Heroes, Alexei Tolstoy compares Hitler to a fairy tale wolf). In "Russian Warriors" the writer quotes "The Tale of Igor's Campaign". Other articles mention the fight against Khan Mamai, the victories of Alexander Nevsky and Mikhail Kutuzov. Alexei Tolstoy in his military journalism consistently displays a certain "Russian character", noting certain features characteristic of the Russian people. These include “abandoning the habitual in difficult moments of life” (“What We Defend”), “Russian smetka” (“Army of Heroes”), “the aspiration of the Russian people for moral perfection” (“To the Writers of North America”), “disregard for his life and anger, intelligence and tenacity in a fight "(" Why Hitler must be defeated ").

Describing the Germans, Alexei Tolstoy often laughs at them, exposes them as “lovers of sausages and beer” (“What We Defend”, “Blitzkrieg” and “Blitz-Krach”), calls them cowards and fools, while citing appropriate examples. He ridicules the psychological methods of warfare of the Nazis ("Daredevils"), comparing the "skull and bones ... in buttonholes, black tanks, howling bombs" with horned masks of savages. Thus, Tolstoy tried to fight various myths about the enemy that were circulating among the soldiers. Alexey Tolstoy writes a lot about the exploits of Russian soldiers.

The topic of hatred is extremely important for Alexei Tolstoy, as well as for all other Soviet wartime publicists ("I call for hatred"). Terrible stories about no less terrible atrocities of the Nazis also serve as a call to hatred.

In the context of the stormy, tensely growing events of the war, journalism as a combat, operational genre received special development and distribution in Soviet literature. Publicistic articles and essays were written during these years by many of our writers: I. Ehrenburg, L. Leonov, M. Sholokhov, Vs. Ivanov, B. Gorbatov, N. Tikhonov and others. By their articles they instilled lofty civic feelings, taught them to take an uncompromising attitude towards fascism, and revealed the true face of the "organizers of the new order." Soviet writers opposed fascist false propaganda with great human truth. Hundreds of articles cited irrefutable facts of the atrocities of the invaders, cited letters, diaries, testimonies of prisoners of war, named names, dates, figures, 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 steadfastness, courage and perseverance. The patriotic journalism of the days of the war played a large and effective role in educating the fighting spirit of our army and in ideologically arming the entire Soviet people.

Publicism had a huge impact on all genres of literature of the war years and, above all, on the essay. From the essays, the world first learned about the immortal names of Zoya Kosmodemyanskaya, Lisa Chaikina, Alexander Matrosov, about the feat of the Young Guard. Very common in 1943-1945 was an essay about the feat of a large group of people. So, there are essays about night aviation "U-2" (K.Simonova), about the heroic Komsomol (V.Vishnevsky), and many others. Essays on the heroic home front are portrait sketches. Moreover, from the very beginning, writers pay attention not so much to the fate of individual heroes, but to mass labor heroism. Marietta Shaginyan, Elena Kononenko wrote most often about the people of the rear.

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

During the Great Patriotic War, 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 "Simply Love" by V. Vasilevskaya, "It Was in Leningrad" by A. Chakovsky, "Third Chamber" by B. Leonidov. The novel by A. Chakovsky "It was in Leningrad" was created in the hot pursuit of the war. It was based on what the writer personally saw and experienced.

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

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

"It was in Leningrad" is a book about the courage of daily deeds, about devoted, uncompromising love, about the very innermost and best that the harsh reality of the war revealed in people.

In 1942, a story about the war by V. Nekrasov "In the trenches of Stalingrad" appeared. This was the first work of a front-line writer unknown at that time, who rose to the rank of captain, fought all the long days and nights near Stalingrad, participated in its defense, in the terrible and overwhelming battles waged by our army.

The war became a great misfortune for everyone, a misfortune. But it is precisely at this time that people manifest their moral essence, “it (war) is like a litmus test, like a special developer.” Here, for example, Valega, an illiterate person, “... reads in syllables, and if you ask him what a 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 mi ... ". 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 Kaluga, 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.

Readers of the story invariably 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 the story of V.P. Nekrasov live by faith in a future victory and are ready to give their lives for it without hesitation.

3. Art during the Great Patriotic War

The Great Patriotic War 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 collisions, 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.

3.1. 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 also 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 film, 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 the 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 and journalistic 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 occupiers of 1918 and other unfortunate conquerors), and heroic (about the exploits of Soviet intelligence officers, border guards, tankmen). 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!”

Feature cinematography also faced a second, no less important task - to complete, despite the war, all the valuable feature films that had begun 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 remarkable 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 familiarize the units of the 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 quickly 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.

3.2. 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 release, 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 arm, 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.

Poster A. Kokorekin "Death to the fascist reptile!" reminiscent of the work of the Kukryniksy in plot and artistic performance - a similar color scheme, the use of the heroic image of a Soviet soldier. A successful symbolic characteristic of fascism has been found. The enemy is shown in the form of a writhing huge snake in the form of a swastika, which is pierced by a soldier of the Red Army with a bayonet. The work was done using a technique typical for a poster: without a background, using only black and red colors. The image of the fighting forces - aggressive and repelling aggression - is given in a sharp confrontation. But both figures have a planar silhouette. The limitation in colors was caused by necessity - for fast reproduction in print, the palette of colors had to be small.

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

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

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

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

In the first months of the war, the plots of heroic posters were full of scenes of attacks and single combats between a Soviet soldier and a fascist, and the main attention, as a rule, was turned to conveying 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. Gershanika, "The Nazis will not pass!" D. Shmarinova, “Forward, Budenovites!” A. Polyansky, “We will crush the enemy with a steel avalanche” V. Odintsov, “Chop the bastards!” M. Avilova, “Let's show the despicable fascist killers how a Soviet sailor can fight!” A. Kokorekina. The multi-figure composition of these posters was supposed to emphasize the idea of ​​the nationwide character of resistance to the enemy. To stop the invasion at any cost was called by the poster of A. Kokosh “A soldier who was surrounded. Fight to the last drop of blood!

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

In the posters of 1941, the content was often deepened by the presence of a second symbolic plane, a historical parallel. The artists resorted to juxtaposing contemporary warriors and commanders of the past, scenes of modern combat and conditional allegorical images symbolizing the Motherland. The posters repeatedly depicted the national heroes of Russia, calling on their descendants to fight the enemy. Sheets were issued depicting Alexander Nevsky, Suvorov, Kutuzov, as well as the heroes of the civil war Chapaev and Shchors. Such posters include: “So it was: So it will be!” N. Dolgorukova, “Our land is glorious with heroes” V. Govorkova, “To arms, Slavs! Let's Defeat the Fascist Oppressors" by V. Odintsov, "Breast to the Defense of Leningrad" by A. Kokorekin.

One of the most common plots was the image of a woman who replaced a man who had gone to the front at the machine, driving a tractor, driving a combine. The best posters of this topic “More bread for the front and rear. Harvest completely! N. Vatolina and N. Denisova, “Girls sit on the tractor boldly!” T. Eremina, “We swore to our husbands” M. Brie-Bain, “The stronger the rear, the stronger the front!” O. Eiges. Many posters touched on the topic of labor discipline: “To eliminate absenteeism completely!” S. Igumanova, “Marriage-Enemy” B. Clinch, “Drivers! Uninterruptedly deliver goods to the front" Y. Beketova, "Collect scrap", "How did you help the Front?" other. One of the most famous rear-themed posters is "Don't Talk!" belongs to the Moscow artist N. Vatolina.

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

1941 and 1942 brought the first significant successes to the Soviet easel art of wartime. The artist A. Deineka depicted Manezhnaya Square with its houses covered with camouflage paint with great artistic expressiveness. In 1942, he also created a wonderful landscape “Outskirts of Moscow. November 1941 "- Moscow with streets blocked by anti-tank gouges, alert and stern.

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

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

At the same time, the artist O. Vereisky created his magnificent illustrations for A. Tvardovsky's poem "Vasily Terkin", inspired by the battle near Moscow.

Major works of a generalizing nature, which appeared in 1942, carried a keen sense of the tragedy of the struggle, an angry protest against the inhuman cruelty of fascism. It was in this tone that A. Plastov wrote his painting “The German flew by”. The savage cruelty of the Nazis is exposed by the Kukryniksy painting “Tanya”. It is characteristic that in both paintings a feeling of beauty and grandeur of the Russian land, Russian nature sounds with particular force.

The graphic series by D. Shmarinov “Let's not forget, we won't forgive!” is close to these paintings in its ideological structure. (1942).

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

During 1943-1944. there was an exhibition of artists of the Soviet Union "The Heroic Front and Rear". Graphics and, above all, front-line drawings occupied a large place at the exhibitions. A large number of drawings dedicated to the partisans were created by N. Zhukov, who in those years led the studio of military artists named after. Grekov. Masters of the studio have visited almost all fronts. The natural completion of the work of Greek artists in the field of graphics during the war years were the drawings by V. Bogatkin, A. Kokorin and other artists dedicated to the capture of Berlin.

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

A large number of wartime paintings are imbued with a lively and acute sense of truth, ordinary, but filled with a deep patriotic content, the events of the life of the Soviet people. Such are the works of Yu. Pimenov, depicting front-line roads, scenes in vegetable gardens near Moscow; works by A. Plastov dedicated to hard peasant labor; painting by a young artist from the Greek studio B. Yemensky "Mother" (1945). A significant number of paintings on historical themes by artists E. Lansere, M. Avilov, N. Ulyanov, A. Bubnov appeared. Continued to develop widely during the war years and other genres of painting. In portraiture, the courageous image of the Soviet patriot was revealed with particular force (works by A. Gerasimov, P. Kotov, and others). In landscape painting, the idea of ​​love for the motherland, ardent attachment to the Russian land was expressed in numerous canvases created by V. Baksheev, V. Meshkov, M. Nesterov, N. Krymov, I. Grabar, S. Gerasimov, N. Romadin and others. B. Rybchenkov, K. Kupezio worked with landscapes of Moscow in those years. Works of mosaic and monumental painting continued to be created during the war years in Moscow. Let us recall the mosaic dedicated to the military exploits of the Russian people at the Avtozavodskaya metro station (1943, artist V. Bordichenko and others). In those years, the development of monumental sculpture was also associated with the construction of the subway. G. Motovilov dedicated his reliefs at the Elektrozavodskaya station to the labor of Muscovite workers. On the whole, two trends emerged in the field of sculpture in the last years of the war. The first of them is the creation of portraits and sculptural groups, where a person is imprinted as if in a minute of a break between battles. The portraits of Colonel Yusupov (1942) by V. Mukhina, the poet A. Tvardovsky (1943) by S. Lebedeva are imbued with lively immediacy. The second trend is monumental-memorial. Large teams of Muscovite artists worked on sculptural portraits for monuments. Such masters as E. Vuchetich, the author of the temperamentally romantic bust of I. D. Chernyakhovsky (1945), N. Tomsky, the author of the portrait of twice Hero of the Soviet Union M G. Gareeva (1945). Glorifying the exploits of the people and their army, helping to better comprehend the events that took place, arousing hatred for the fascist invaders, strengthening the feeling of Soviet patriotism among the people, the fine arts during the war years played a huge educational and mobilizing role.

1. War music

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

The battle song and march marched throughout the war alongside the soldiers, raising them to heroic deeds. A warm, sincere song adorned leisure in the hours of calm between battles, brought the soldiers closer. From the very first days of the war, the song became a truly folk art, the voice of the heroic soul of the people. It is noteworthy that only in the first two days of the war, Moscow composers wrote 40 songs, and four days later there were already more than 100.

One of the most remarkable songs of the initial days of the war - "Holy War" by A. Alexandrov immediately won universal recognition. In her epic stern warehouse was a truly nationwide awareness of patriotic duty. Monumental in content, laconic in expression, this song became already in those days "the musical emblem of the Great Patriotic War."

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

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

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

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

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

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

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

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

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

In ballet music, heroic and fairy-tale-fantastic themes were developed. Interesting and fundamentally new performances of the war period were S. Prokofiev's ballet "Cinderella" (1941-1944), staged at the Bolshoi Theater in December 1945, and Y. Yurovsky's ballet "Scarlet Sails", which was staged by a branch of the Bolshoi Theater theater in Moscow in December 1943.

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

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

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

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

1. Conclusion.

The struggle for the freedom and independence of the motherland during the war became the main content of the life of the Soviet people. This struggle demanded from them the utmost exertion of spiritual and physical strength. And it was precisely the mobilization of the spiritual forces of the Soviet people during the Great Patriotic War that was the main task of our literature and our art.

The Great Victory has become a common, nationwide cause. She was forged day and night at the front and in the rear. And without any exaggeration, we can say that cultural figures have also made an important contribution to the common cause: writers, artists, musicians, filmmakers.

References:

1. For life on earth. P. Toper. Literature and war. Traditions. Solutions. Heroes. Ed. third. Moscow, "Soviet Writer", 1985

2. Russian literature of the twentieth century. Ed. "Astrel", 2000
3. "World War II: Cinema and Poster Art". M., Thought, 1995
4. Golovkov A. "Yesterday there was a war." Magazine "Spark", No. 25 1991
5. History of Moscow during the Great Patriotic War and in the post-war period Nauka Publishing House, M., 1967

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 collisions, 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.

With the beginning of the Great Patriotic War, artists take 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 produce newspapers, posters, cartoons. In the rear, the artists were propagandists, organized exhibitions, they turned art into a weapon against the enemy - no less dangerous than the real thing. During the war, many exhibitions were organized, among them two all-Union exhibitions ("The Great Patriotic War" and "The Heroic Front and Rear") and 12 republican ones. In the besieged Leningrad, the artists published a magazine of lithographic prints "Fighting Pencil" and, together with all Leningraders, showed the whole world their unparalleled courage and fortitude.

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. "Russian people", "Invasion" later, films were made based on these plays.

Cinema - the most popular form of art of those years - played a huge role in the spiritual life of the fighting people. Documentary films, film reports, newsreels of combat and labor everyday life, created, including directly at the front or in partisan detachments, raised the steadfastness and selflessness of Soviet soldiers, the patriotism of the workers in the rear.

Feature film masters also made a significant contribution to the victory over the enemy. Such films created by them during the war, such as "Secretary of the District Committee", "She Defends the Motherland", "Two Soldiers", "Zoya", "A Guy from Our City", "Invasion", "Wait for Me" and others are memorable to all veterans front and rear, and did not lose their patriotic significance even after the victory over fascism.

The Mosfilm stars dug trenches and put out incendiary bombs, just like other Soviet citizens. When the war began, Lyubov Orlova and Grigory Aleksandrov were in Riga. They immediately hurried to get to Minsk, which was already under bombardment from the air, and then left for Moscow. Orlova immediately began digging trenches near the Mosfilm studio, while Alexandrov lay unconscious, having been hit by an aerial bomb during night duty in the air defense unit.

Lidia Smirnova at that time was busy filming a film based on Simonov's play "A Guy from Our City", already half-shot. She also went on night duty, and she had to grab "lighters" with asbestos-gloved hands. And when she was free from duty and filming, she, along with other actresses, collected woolen gloves and socks for soldiers. When the men from Mosfilm left for the 21st Kyiv militia division, the actresses, seeing them off, arranged concerts in the military registration and enlistment offices.

Another rising star, Maria Ladynina, starred in the musical comedy The Pig and the Shepherd directed by her husband Ivan Pyryev. In May 1941, filming began in the Caucasus. On the way back to Moscow, a conductor came to their compartment and said that the war had begun. They began to discuss the question, is it now right to shoot and release a comedy on the screens when people fight and die at the front? They decided to stop shooting, and some were going to go to the front as volunteers.

But the management decided to continue shooting the film. A lot of unrest experienced people in those days. After the capture of Vyazma, Ladynina's parents were captured by the Germans. When bad news came from the front, the actresses often walked around with red tear-stained eyes, and Pyryev cursed: “Don't cry, damn you! You can't make a comedy if the actresses are all crying." The film "The Pig and the Shepherd" was first released on November 7, 1941, on the day of the parade on Red Square, it was a huge success with soldiers at the front and has remained one of the most popular Soviet films ever since ...

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), staged by M. Donskoy according to the script by Wanda Vasilevskaya, S. N. Uzhiviy in the title role. 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.

"Unconquered" film by M. Donskoy (1945) is the first film that was filmed in the newly liberated Kyiv. The truth about fascism came to M. Donskoy not only through literature, cinema came close to the war.

“In the logical chain: war - grief - suffering - hatred - revenge - victory, it is difficult to cross out the big word - suffering," wrote L. Leonov. Artists understood what cruel pictures of life a rainbow illuminates. They now understood what was behind the rainbow-like fireworks.

The patriotism of the people, their love for the motherland and hatred of the enemy demanded, however, not only dramatic or, moreover, tragic colors. The war has sharpened the thirst for humanity. On the screens, lyrical and humorous collisions arose. Humor and satire in popular publications often occupied the central pages. Comedy films were recognized and coveted at the front and in the rear, but they were few in number. Several short stories from "Combat Film Collections", "Antosha Rybkin" and "Schweik's New Adventures" (1943), created at the Tashkent studio, and film adaptations of Chekhov's "Weddings" (1944) and "Jubilee" (1944).

Workers of theatrical art did not remain aloof from the events. The new performances created by them in creative collaboration with playwrights (“On the Eve” by A. Afinogenov, “Russian People” by K. Simonov, “Invasion” by L. Leonov, “Front” by A. Korneichuk, and others) showed the heroism of the Soviet people in the war, their resilience and patriotism. During the war years, a huge number of theatrical and artistic performances by concert teams and individual performers took place at the front and in the rear.

During the war years, fine arts contribute to the approach of victory. Newspapers, posters were published on the front lines between battles, and cartoons were invented. In the rear, two all-Union exhibitions were organized (“The Great Patriotic War”, “Heroic Front and Rear”) and 12 republican ones. In besieged Leningrad, artists published the magazine "Combat Pencil".

The main propagandistic role was given to posters and political cartoons. Shortly after the start of the war, on the initiative of M. Chernykh, the TASS Windows series began to appear. In the first two years, the poster had a dramatic, even tragic sound (V.G. Koretsky "Soldier of the Red Army!"). After the turning point in the course of the war, the mood of the poster also changed (L. Golovanov “Let's get to Berlin!”). For 1941-1945 the central publishing houses alone produced over 800 posters with a total circulation of more than 34 million copies.

The works of the Kukryniksy (M.V. Kupriyanov, P.N. Krylov, N.A. Sokolov) gained wide popularity. On June 24, Muscovites saw the poster "We will mercilessly defeat and destroy the enemy!", Which was reproduced on their pages by many Soviet and foreign newspapers and magazines. Sokolova N. "Kukryniksy" On the left, from below, as if from a hole, Hitler crawls out with a clawed paw and a snarled muzzle of a predator. He tore a leaf - a non-aggression pact concluded between the USSR and Germany, and is preparing to grab the prey, next to it, a dropped mask. The path to the pretender to world domination is blocked by a Soviet soldier, who directs a bayonet at a monster.

The Kukryniksy created one of their best paintings, referring to the image of antiquity - Sophia of Novgorod as a symbol of the invincibility of the Russian land ("The Flight of the Nazis from Novgorod", 1944-1946). Against the backdrop of the majestic facade of the cathedral, wounded by shells, the bustling arsonists seem pitiful, and a pile of mangled fragments of the monument "Millennium of Russia" calls for revenge. The artistic shortcomings of this picture are redeemed by its sincerity and genuine drama.

In historical painting, images of the heroes of the glorious past of our Motherland appear, inspiring Soviet soldiers to fight the enemy, reminding them of the inevitability of death, the inglorious end of the conquerors. So, the central part of the triptych by P. Korin is occupied by the figure of Alexander Nevsky, full-length, in armor, with a sword in his hand against the backdrop of Volkhov, St. Sophia Cathedral and a banner depicting the “Savior Not Made by Hands” (1942-1943, Tretyakov Gallery). Later, the artist will say: “I painted it during the harsh years of the war, I wrote the unconquered proud spirit of our people, which “at the hour of judgment of its existence” rose to its full gigantic height.”

The spirit of wartime was imbued with the work of artists and sculptors. During the war years, such forms of operational visual agitation as military and political posters and caricatures became widespread. Thousands of copies were issued such memorable posters for the entire military generation: “Warrior of the Red Army, save!” (V. Koretsky), "Partisans, take revenge without mercy!" (T. Eremin), "The Motherland is calling!" (I. Toidze) and many others. More than 130 artists and 80 poets took part in the creation of the satirical TASS Windows.

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 posters were being prepared for printing in publishing houses: Already on June 24, a poster with the following plot was printed in the Pravda newspaper. The bayonet pierced right into the Fuhrer'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. 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 characteristic of fascism has been 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 peculiar artistic technique without a background, using only black and red colors. The figure of the warrior represents a red planar silhouette. "Soviet Propaganda" Catalog of posters of the USSR 1941-1945 Such a technique, of course, was to some extent dictated by necessity. Time of war, deadlines are tight. For fast reproduction in print, the palette of colors had to be limited. Another famous poster by A. Kokorekin “Beat the Fascist Reptile!” - the one described above varies, but it is drawn more voluminously, specifically, during the war years, the artist completed at least 35 poster sheets. Among the first military posters is the work of N. Dolgorukov “The enemy will have no mercy!”. This is one of those posters where the image of a person plays a subordinate role. The correct selection of details, the wit of the plot, the dynamics of movement, and the color scheme are important here. On the eve of the Great Patriotic War, the director of the film studio "Mosfilm" V. Ivanov created a poster sheet dedicated to the Red Army. It depicted fighters rising to the attack, advancing tanks, planes flying across the sky. Above all this mighty purposeful movement fluttered the Red Banner. 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 - Motherland Calls. It was published in millions of copies in all languages ​​of the peoples of the USSR. The artist skillfully presented a generalized image of the Motherland filled with romance. The main force of the impact of this poster lies in the psychological content of the image itself - in the expression of the excited 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 turned to conveying 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. Gershanika, "The Nazis will not pass!" D. Shmarinova, “Forward the Budenovites!” A. Polyansky, "We will crush the enemy with a steel avalanche" M. Avilova, “Let's show the despicable fascist killers how a Soviet sailor can fight!” A. Kokorekina. The multi-figure composition of these posters was supposed to emphasize the idea of ​​the nationwide character of resistance to the enemy. To stop the invasion at any cost was called by the poster of A. Kokosh “A soldier who was surrounded. Fight to the last drop of blood!

"Do not chat!" belongs to the Moscow artist N. Vatolina. The poster artists did not disregard the theme of the partisan movement either. Among the most famous posters are: “Partisans! Beat the enemy without mercy!" V. Koretsky and V. Gitsevich, "The enemy cannot escape the people's revenge!" The works of V. Koretsky “Be a hero!”, “The people and the Army are invincible!”, “Join the ranks of front-line girlfriends were a successful experience in the deep psychological solution of the patriotic theme in the poster. The combatant of the Fighter is an assistant and friend! The Great Patriotic War: 1941-1945: Encyclopedia for schoolchildren I.A. Damaskin, P.A. Koshel

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

It should be noted that the country's leadership has reoriented the activities of historians, philosophers, lawyers to the propaganda of patriotism, which has become a powerful means of mobilizing the spiritual forces of the people to fight the enemy. New elements were introduced into propaganda methods. Class, socialist values ​​were replaced by the generalizing concepts of "Motherland" and "Fatherland". In propaganda, they no longer placed special emphasis on the principle of proletarian internationalism (in May 1943, the Comintern was dissolved). It was now based on a call for the unity of all countries in the common struggle against fascism, regardless of the nature of their socio-political systems.

In the early morning of June 22, 1941, Nazi Germany treacherously attacked the Soviet Union. Armed to the teeth, the Nazi army, despite the courageous resistance of the Soviet troops, moved forward. Mortal danger hangs over our Motherland. From every Soviet citizen, no matter what position he was in: in a trench at the front edge or at a blast furnace, at the helm of a combat aircraft or driving a tractor, boundless dedication, honest service to the Motherland was required.

"Everything for the front, everything for victory!" These words became the motto of the life and work of the Soviet people.

At the call of the party, the entire people rose up to fight the enemy. Soviet artists also felt mobilized and called upon by their art to serve the people, to help them in their mortal combat with the enemy.
The first to respond to the war events were poster artists. On the second day of the war, the poster of the Kukryniksy already appeared: “We will mercilessly defeat and destroy the enemy!”

In the very first days of the Patriotic War, TASS Windows were created. Poets D. Bedny, Marshak, Lebedev-Kumach, Kirsanov, artists Efimov, Kukryniksy, Goryaev, Cheremnykh collaborated in them. The whole country knew the posters of "Windows TASS"; crowds of Muscovites gathered at the windows, waiting for a new issue.Reproduced in a reduced format, they were delivered to the front, the planes scattered them in the form of leaflets over the occupied cities and villages, inspiring people to believe in our victory. Among the first posters of the Patriotic War, the poster of the artist I. Toidze "The Motherland Calls" should be noted.

A middle-aged woman with a stern face holds the text of a military oath in her right hand outstretched forward, her left hand raised invitingly upwards. Unforgettable is her face with tightly compressed lips, with burning, point-blank eyes turned to the viewer. Hair slightly tossed with gray hair, frowned eyebrows shifted to the bridge of the nose, a handkerchief fluttering in the wind create a mood of anxiety and very clearly define the main idea of ​​the poster - the Motherland calls its sons to fulfill their duty - to protect the Fatherland.

The first months of the war were difficult. The enemy pressed our army, captured Belarus, Ukraine, the Baltic states, surrounded Leningrad with a ring of blockade, and approached the outskirts of Moscow. In the occupied territory, the Nazis exterminated Soviet people, burned villages, forcibly took away young people to German penal servitude.

From the poster of the artist D. Shmarinov "Revenge", a woman looks at the viewer. Against the backdrop of a smoky conflagration, she stands motionless and terrible in her grief. On her lowered hands is the body of a brutally murdered girl. In the eyes of the mother, wide open, filled with tears, there is not only suffering, but also a demand - revenge!

During the war years, the poster of the artist V. Koretsky "Soldier of the Red Army, save!"

Repeatedly repeated on plywood shields along front roads, on the walls of houses, on postcards, this poster became a symbol and an oath, awakened in the hearts of the soldiers an ardent desire to defeat the enemy, save their wives and children from torment and suffering.

A woman holds a boy clinging to her in her arms. Her hair fell out from under a white handkerchief, her eyebrows were drawn together with hatred and pain, the corners of her lips were lowered in pain. The child clung tightly to its mother in fear. On the left, obliquely to the center, the bayonet of a Nazi soldier is directed right into the heart of the mother. Not a single extra detail. Even the child's fist is hidden under the handkerchief. The figures of the mother and son are given in the bust, as if emerging from the darkness in the unsteady wavering light of the conflagration.

The ruthless fascist bayonet, stained with blood, and the young mother, ready to cover her son with her body, made an indelible impression. It is no coincidence that the artist Koretsky received hundreds of excited letters from front-line soldiers he did not know, in which the soldiers swore to expel the enemy from Soviet soil, to free their people from fascist captivity.

Koretsky in this work skillfully used the possibilities of photography in order to give the image the character of genuine authenticity. He managed to avoid naturalism, excessive detailing, characteristic of many photomontages.

Conciseness, rigor in the selection of expressive means, a severe black and red color scheme, and a huge force of emotional impact made this poster a significant work of Soviet fine art, unparalleled among wartime posters.

After the failures and defeats of the first year of the war, our country also knew the joy of victories.

The theme of the Soviet military poster has changed. There were more bright and joyful moods in him, caused by a premonition of an imminent victory, and more and more often there was a call not only to liberate the Soviet land from the enemy, but also to bring freedom to the peoples of Europe. The participants of the war remember well the poster of the artist V. Ivanov “We ​​drink the water of our native Dnieper”.

The Dnieper flows freely and broadly through its native land. The predawn sky, reflected in the dark and calm water surface, blazes in the glow of smoky fires. In the distance one can see the crossing just built by sappers. Tanks and vehicles are moving along it in an endless stream to the right bank. In the foreground is a large figure of a Soviet soldier. He scooped up the cool Dnieper water smelling of willow and river freshness with his helmet, carefully brought it to his mouth and slowly drinks, enjoying every sip.
Sincere emotion and lyricism, filial love for the motherland, sounding in this poster, made it a favorite work of the people.
The last posters of the Patriotic War are dedicated to the victorious final battles. They glorify the heroic feat of the Soviet people, who at the cost of great sacrifices saved humanity from fascist slavery.
Soviet poster artists fulfilled their patriotic duty during the war years, creating a chronicle of struggle and victories, remarkable in its artistic and ideological merits, which our people will never forget.

The artists of our country fought the enemy not only by means of ideological weapons. Many of them became soldiers of the Soviet Army. They participated in the fight against the Nazis as part of the combat units of the army, partisan detachments, and the people's militia. But even at the front they never ceased to be artists. In their free time from military operations, they did not part with marching albums, making cursory sketches, sketching out sketches, compositions of future paintings.

Portraits of warrior heroes, satirical drawings, and front-line sketches, appearing in newspapers and battle sheets, helped to strengthen the fighting spirit of Soviet soldiers.

During the war years, many new talented artists have grown up, actively involved in creative work.

In the most severe days of 1942, when the enemy approached the capital, art exhibitions were opened in Moscow and Leningrad. The ideas of patriotism determined the content of the art of this period. The pathos of heroism, the glorification of the Soviet victorious man, sounded in the picturesque canvases of artists of the war years.

The artist S. V. Gerasimov spoke about the steadfastness and courage of the Soviet people, about the heroism and fearlessness of the Soviet woman-mother in the painting “Mother of a Partisan” (1943).

The immortal feat of Zoya Kosmodemyanskaya inspired the artists Kukryniksy to create the painting “Tanya”.

About the atrocities of the Nazis, about their desecration of the Soviet people, the artists A. A. Plastov told in the painting “The Nazi flew by” (1942),

G. G. Ryazhsky "Into slavery" (1942),T. G. Gaponenko "After the expulsion of the Germans" (1943-1946).

The young artist B. M. Nemensky told about ordinary Soviet people, modest workers, honestly and faithfully fulfilling their duty in the painting “Mother” (1945). He created the image of a mother, for whom every soldier of the Soviet Army is a son.

The image of a woman-mother rises to the symbolic sound of the Motherland in the painting by F. S. Bogorodsky "Glory to the Fallen Heroes".

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 Koken Gauzen Fortress (1940-1942) - dedicated to the victory of the Russian people over the Livonian knight dogs.

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.

The image of Alexander Nevsky, a man of mighty will, deeply devoted to the Motherland, was created by the artist P. D. Korin (1942).

“I painted it,” says the artist, “during the harsh years of the war, I wrote 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 wrote 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.
During the war years, a new form of a monumental heroic portrait-bust was developed, intended to be installed in the homeland of the hero.

Sculptor E. V. Vuchetich created a whole series of busts of the largest commanders. Preserving portrait likeness, the artist achieves an expressive transmission of the most striking features of a person's character. The compositions of his busts are always dynamic, the faces of the depicted people are full of energy and courage.

One of Vuchetich's most successful works is the bronze bust of General of the Army I. D. Chernyakhovsky (1945). An energetic turn of the head, fluttering strands of hair, large folds of the cloak on the shoulders - everything is imbued with a stormy impulse, full of movement. The artist managed to convey the passion of character, courage and courage of the famous commander.

The years of the Great Patriotic War were one of the significant stages in the history of Soviet art.

During this period, the socio-political strength of our art, its communist ideology and nationality, strengthened. With their martial arts, Soviet artists made a worthy contribution to the common cause of defeating the enemy.

V. I. Gapeeva, E. V. Kuznetsova. "Conversations about Soviet Artists"

Publishing house "Enlightenment", M.-L., 1964

The role of art during the Great Patriotic War

It has been 66 years since the volleys of the Great Patriotic War died down, and it continues to live in the memory of the people, in the hearts of millions of people, in art and songwriting.

The bells of memory are ringing. They hum over the quiet fields of Belarus, over Khatyn and Brest, Babi Yar and Kyiv, over small towns and big cities - everywhere where the fascist's forged boot has stepped. And in this rumble we hear a requiem and a hymn. A requiem for the thousands of dead, tortured, burned alive, and a hymn in honor of those who survived, survived in the terrible conditions of the war and won. And a huge role in this victory rightfully belongs to Soviet culture. Literary and artistic figures felt themselves mobilized and called to serve the people with their art from the very first days of the war. Art strengthened and tempered the spirit of the people, inspired it to exploits, supported in it confidence in victory, it itself was fighting. Thousands of cultural figures stood up and defended the independence of the Motherland with weapons in their hands.

The literature of the Great Patriotic War began to take shape immediately after June 22, 1941. Therefore, the main task of literature was to help the party organize, direct, make purposeful and irresistible the fighting spirit of the people, strengthen their faith in their own strength, their readiness to fight for their Fatherland. In the first days of the war, about a thousand writers went to the front as fighters and commanders, political workers and correspondents. The famous story of M. Sholokhov “The Science of Hate” about Lieutenant Gerasimov is also journalistic in its orientation. The writer shows two forces that help Gerasimov overcome terrible trials - hatred for the invaders and a clear understanding of the humanistic ideals of the Soviet people. Listen to an excerpt from this story…”

“... And they learned to fight for real, and to hate and love. On such a touchstone as war, all feelings are perfectly honed. It would seem that love and hate cannot be put side by side; you know how they say: “You can’t harness a horse and a quivering doe into one cart,” but here they are harnessed and pull great! I deeply hate the fascists for everything they have done to my homeland and to me personally, and at the same time I love my people with all my heart and do not want them to have to suffer under the fascist yoke. This is what makes me, and all of us, fight with such bitterness, it is these two feelings, embodied in action, that will lead to our victory. And if love for the Motherland is kept in our hearts and will be kept as long as these hearts beat, then we always carry hatred for the enemy on the tips of our bayonets. Sorry if this is intricately said, but I think so, - Lieutenant Gerasimov finished and for the first time during our acquaintance smiled with a simple and sweet, childish smile.

On the very first day of the war, writers and poets of Moscow gathered for a rally. Alexander Fadeev said: “Many of us will fight with weapons in our hands, many will fight with a pen”. Poetry put on a military overcoat and stepped into battle. Already on the third day of the war, the song “Holy War” to the verses of Lebedev-Kumach sounded all over the country, as a call.

“On the same day, it sounded on the radio performed by the famous actor of the Maly Theater Alexander Ostuzhev. Published simultaneously in Krasnaya Zvezda and Izvestia, the poems literally shocked everyone, stunned with their angry power and amazing ability to express what was seething in everyone's soul. The line in the title of the poem, “Holy War,” hit my heart. Yes, it is sacred! Under the same strong impression, the head of the Red Army Song and Dance Ensemble A.V. created the music for this song. Alexandrov, almost as swiftly, literally illuminated by the musical theme instantly sounded in him. On June 27, the Red Army soldiers sang “Holy War” for the first time at the Belorussky railway station to the soldiers going to the front. And those who listened, leaving for the front, seeing off relatives and friends, and those who performed, could not hold back their tears. The poet called his song "an excited speech", and this speech echoed in the hearts of millions of compatriots like an anthem, like an alarm. The song became a moment in history, stood together with the soldiers in the ranks, became itself.

Message.

“During the war years, mass song was the most widespread genre of Soviet music. She was one of the first to reflect the events of the war and became its musical chronicle. 4 years of war became a significant period, which approved a new song style, characterized by the interpenetration of lyrics and heroics. The song was a powerful spiritual weapon at the front and in the rear. The themes, images and content of the songs embodied the struggle of the Soviet people against the Nazi invaders, the emotional atmosphere of wartime. Many songs were written, performed, felt and accepted: “The Treasured Stone” by Mokrousov and Zharov, “Evening on the Road” by Solovyov-Sedov and Churkin, “In the Dugout” by Listov and Surkov and others. They were sung in the rear and at the front, on the battlefield and in short moments of rest, in dugouts and partisan detachments. They were performed by concert teams and individual singers. Outstanding performers were: Lidia Ruslanova, Leonid Utesov, Claudia Shulzhenko…”

And each of the songs had its own destiny

Student messages

Why was music important in raising morale?

What WWII songs do you know?

Students listen to songs and tell the story of their creation.

1. 1. "Holy War"
2. 2. "Dark night"
3. 3. "In the dugout"
4. Symphony 4.7 by D. Shostakovich
5. 5. "Sternly Bryansk Forest Noisy"