The Wanderers (Peredvizhniki)

 

The second half of the 19th century saw the maturing of Realism in Russia. A sympathetic attitude toward the hard life of the people is reflected in the works of painters and sculptors of that time. The Aesthetic Relations of Art to Reality (1855) that art must not only reflect reality but also explain and judge it, became a starting point for contemporary artists.

A truly national tradition did not begin, however, until the 1870s with the appearance of the "Wanderers" — the Peredvizhniki. This society was formed by a group of Romantic artists who regarded themselves as Realists. They rejected the restrictive and foreign - inspired classicism of the Russian Academy to form a new realist and nationalist art that would serve the common men. Believing that art should be placed at the service of humanitarian and social ideals, they produced realistic portrayals of inspiring or pathetic subjects from Russian middle-class and peasant life in a literal, easily understood style.

Forming a Society of Wandering Exhibitions, they organised mobile exhibitions (hence the name) of their works in an effort to bring serious art to the people. The most prominent Russian artists of the 1870s and 1880s, including Ivan Kramskoy, Il'ya Repin, Vassily Surikov, Vassily Perov, and Vassily Vereshchagin, belonged to this group. The Wanderers attached much importance to the moral and literary aspects of art than to aesthetics. Its artistic creed was realism, national feeling, and social consciousness. The influence of the Wanderers spread throughout Russia. This group was dominant for nearly 30 years, but by the end of the century it had greatly declined nevertheless it became model for the Socialist Realism of the Soviet Union.  

Painting in Russia in the Twentieth Century

 

From the last quarter of the 19th century onward, the history of Russian art is that of a series of school struggles: the Slavophiles against the Westerners; the Academy against the Wanderers; and later the joint effort of the last two against a new movement, born in the 1890s and directed by the art review "The World of Art". Besides the icon and lubok, peasant embroideries, trays, toys and children's art were the sources of visual inspiration. Natalia Goncharova (1881-1962) the first of many remarkable women prominent in the Russian avant-garde, proudly advertised her derivations with titles such as Spring Peacock (Russian embroidery style) and Sketch for a Religious Composition (Byzantine style). Her painting Frost is a winter scene which simultaneously looks back to folk art and forward to abstraction.

The widespread desire among young artists to create a "rebirth of Russian painting" at the beginning of the century meant, above all, a reconsideration of native Russian arts and crafts - a return to artistic roots which reflected the interest in primitivism shown by avant-garde painters across Europe.

The 1920s was a period of continued experimentation. Perhaps the most noteworthy movement was Constructivism. Led by El Lissitzky and Aleksandr Rodchenko, the Constructivists favoured strict geometric forms and crisp graphic design. Many also became actively involved in the task of creating living spaces and forms of daily life, working in such fields as furniture, ceramic, and clothing design and architecture. Non-Constructivist artists, including Pavel Filonov and Mariya Ender, also produced major works in this period. By the end of the 1920s the experimental visual arts was not officially favoured. A return to the classics of realism was decreed, and the great painters of the early 1920s found themselves increasingly isolated.

Socialist Realism became officially sanctioned theory and method of visual arts, prevalent in the country from 1932 to the mid-1980s. Socialist Realism followed the tradition of 19th-century Russian realism in that it purported to be a faithful and objective mirror of life. The primary theme of Socialist Realism is the building of socialism and a classless society. In portraying this struggle, the painter could admit imperfections but was expected to take a positive and optimistic view of socialist society and to keep in mind its larger historical relevance. A requisite of Socialist Realism is the positive hero who perseveres against all odds or handicaps. Hundreds of positive heroes - usually engineers, inventors, or scientists created to this specification were strikingly alike in their lack of lifelike credibility. Experimental art was replaced by countless pictures of Lenin and by the seemingly endless string of rose-tinted Socialist Realist depiction of everyday life bearing titles like The Tractor Drivers' Supper, of 1951.

The visual arts recovered for a long time. It was not until the 1960s and 70s that a new group of artists, all of whom worked "underground", appeared. Major artists included Ernst Neizvestny, Ilya Kabakov, Mikhail Shemyakin, and Erik Bulatov. They employed techniques as varied as primitivism, hyperrealism, grotesque, and abstraction, but they shared a common distaste for the canons of Socialist Realism. By the late 1980s a large number of them had emigrated. Many became well known on the international art scene. One of the painters of the 1990s whose landscapes are noted for their romanticism and lyricism is Serge Okazov. His major works have been created in Magadan. S. Okazov's motifs are of a certain monumentally. The painter is seeking for an image to synthesize many impressions, thoughts and emotions.