Description
ЎЗБЕКИСТОН ТАСВИРИЙ САНЪАТИ - ИЗОБРАЗИТЕЛЬНОЕ ИСКУССТВО УЗБЕКИСТАНА - THE FINE ART OF UZBEKISTAN / Painting: drawing sculpture decorative-applied art / Gafur Gulyam Publishing House, Tashkent / Printing house Grafische Werke Zwickau - East Germany
- ASIN : B004UC6HJC
Title: The Fine Art of Uzbekistan Painting, Drawing...
Publisher: Gafur Gulyam Publishing House, Tashkent
Publication Date: 1976
Binding: Hardcover
Condition: VG
As from 1931 the art of Uzbekistan has been exhibited in creative activity. Moscow. The exhibition that was arranged in 1934 had the greatest repercussions. The critics unanimously marked the peculiarity of the national school of art, the exceptional gift of the young Uzbek painters, the virtue of their coloration.
The 1940 republican art exhibition summed up the pre-war period. It was stressed that art in Uzbekistan had become full-fledged and reached a level of professionalism. Witness of this is provided by the profundity and audacity in the statement of questions relating to art, in the portrayal of contemporary subjects and images, in the formation of new genres, and in the creation of vivid and emotional contemporary images in portrait-painting.
That is why the outbreak of the Great Patriotic War was met by the artists fully possessed. The profound social nature of art defined the place of an artist in the common struggle. Just as all the Soviet people they took to arms in defence of their homeland and strengthened its rear. Again mass propaganda forms and genres came to the service of the people in combat.
In the first days of the war UzTAG agit-posters appeared in the streets. They sharply and effectively unmasked fascism, Samarkand. glorified the Soviet Army and the labour exploits of the people. Artists of all genres took part in the creation of these posters and among them were such drawers as V. Rozhdestvensky, V. Kaidalov, V. Kedrin, B. Zhukov, P. Reikh, S. Malt, and painters L. Abdullayev, V. Ufimtsev, N. Kashina, V. Khamdami.
Teams of artists worked on building sites, collective farms and at plants. They decorated agricultural exhibitions, created portrait-galleries of shock workers, collected material for their creative work. The subject of love for one's homeland united and inspired all the genres of art.
Despite the hardships of war times and the fact that many artists had left for the battle-fronts (among those were Hero of the Soviet Union S. Abdullayev, B. Khamdami, V. Kaidalov, I. Uzhninsky, N. Gerasimov, S. Malt) artistic life, and especially that of arranging exhibitions, was in full swing. In 26 the course of the war alone the Union of Artists of Uzbekistan arranged over 300 exhibitions. Even those artists, whose pre-war creative work was chamber in nature and intimate and lyrical in trend, took to developing vital contemporary subjects. Those, who previously considered it to be their unalterable duty to see that the subject of their works be the life of the people, worked with special After his visit to the front-lines U. Tansykbayev painted a series of canvases "Along the Path of War" in memory of the events of the stern war years. Memorials of those events were also painted by other artists. Such are "A Propagandist at the Tashkent Canal" (L. Abdullayev), "Collecting Necessities for those at the Battle-Front" (Ch. Akhmarov), A. Abdullayev's numerous portraits of workers and soldiers, V. Ufimtsev's battle-pieces and canvases of still-life, genre paintings by Z. Kovalevskaya, P. Benkov, N. Kashina, O. Tatevosyan.
A sketch-book "The Artists of Uzbekistan During the Great Patriotic War" collected all of the most significant creations of easel drawing at that time. It reflected the life of the people of Uzbekistan, who were selflessly working in the rear, and the feats of those who were locked in arms with the enemy during the Great Patriotic War. In the years of the war Uzbekistan became a place where the most prominent artists of Moscow, Leningrad, the Ukraine and Byelorussia found not only refuge, but friendly support and the possibility to create. The Leningrad Academy of Arts proceeded to function in
The subject of patriotism and the struggle of the Soviet people during the war draws the attention of artists till this day. In the war years this subject was reflected in the main in critical, and sometimes even tragic, aspects of the war in which battle scenes dominated. In the post-war years the image of common Soviet people, who gained the victory despite hard trials, has become the main subject in the artists' creations.
A profound generalization in the reflection of the typical traits of the people has made its appearance. Such are the canvases "Meeting a Demobee" (L. Abdullayev), "In the Sakhalyansk Direction" (V. Kaidalov), "Home Again" (P. Benkov), "A Partisan" (V. Ufimtsev). The victory of the Soviet people during the Great Patriotic War, which was of world-wide significance, the political and economic successes of the country, the flowering of culture in the post-war years-affirmed all the stronger the patriotic ideals, the international spirit and ideological conviction of the masters of art of Uzbekistan. All that was casual receded before the invincible necessity to serve one's people, glorify their feats of arms and labour exploits, give a memorable depiction of that unique period for posterity.
The arts of Uzbekistan found features that were conditioned by the Soviet people entering a new stage of communist construction. The rapid progress of science and culture (along with the archeologists' discoveries of masterpieces of art of past ages). the successes of the national theatre and cinema, the creation of major literary and musical works, intensive town-building that made it possible to realize the conceptions of monumental works of architecture - exerted beneficial influence upon the fine art in the post-war years.
Contacts with the arts of the fraternal republics and socialist countries have expanded. This was promoted by trips of artists around the country and abroad for creative purposes, arranging art exhibitions and ten-day art festivals on an exchange basis. It is not only quantitative changes (the association of artists has almost doubled its ranks), but a major qualitative leap determining a new stage in its artistic development, that has come to originate.
