Early morning June 22, 1941 Nazi Germany treacherously attacked the Soviet Union. Hitler's army, armed to the teeth, despite courageous resistance Soviet troops, moving forward. Mortal danger hangs over our Motherland. From every Soviet citizen, no matter what post he is in: in the trenches of the front line or at blast furnace, at the helm of a combat aircraft or behind the wheel of a tractor, boundless dedication, honest service to the Motherland was required.
"Everything for the front, everything for victory!" These words have become the motto of life and work 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 Patriotic War"Windows TASS" was 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 in the form of leaflets scattered them 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 in her right hand outstretched forward the text of the military oath, left hand lifted invitingly. 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 main idea poster - Motherland calls her 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!"
Repeated many times over plywood boards near the front roads, on the walls of houses, on postcards, this poster became a symbol and an oath, awakened in the hearts of the fighters 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 selection means of expression, harsh black and red color scheme, the enormous power of emotional impact made this poster a significant work of the Soviet visual arts, 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, 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 along 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 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 heroic warriors, satirical drawings, 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 painted the rebellious proud spirit of our people, which “at the hour of judgment of its existence” rose to its full gigantic height.”
The themes of the historical past were closely intertwined with the themes of the heroic present. The artists were witnesses and direct participants in swift attacks and military assaults, heavy military campaigns and bloody battles. Time didn't wait. It was necessary to write from living impressions. The artists worked with all their might. The paintings were not always successful, some of them lacked the depth of disclosure of the topic, the power of generalization. But not one of them could be deprived of the main thing - sincerity and passion, the consciousness of a high patriotic duty.
The picture of the victorious offensive of the Soviet troops was captured in one of the first battle paintings of the war years by the artist V. N. Yakovlev (“Fight under the settlement of Streletskaya”, 1942).
The artist A. A. Deineka in the painting "Defense of Sevastopol" (1943) showed the unprecedented courage and stamina of the sailors - the defenders of the hero city.
He also painted the pictures “The downed fascist ace”, “Airborne assault on the Dnieper” and others.
In the difficult days of the blockade, the artists of Leningrad did not stop working for a single day. About the courage, extraordinary willpower, exceptional perseverance and patience of Leningraders, who heroically endured the exorbitant hardships of life in the conditions of a besieged city, they told in their canvases.
The triumph of the great victory of the Soviet Army over the enemy is imbued with a large battle painting “Breakthrough of the blockade on January 18, 1943”, written by a team of Leningrad artists consisting of A. A. Kazantsev, I. A. Serebryany, V. A. Serov.
The picture depicts the joyful moment of joining the troops of the two fronts. It was created by artists shortly after the blockade was broken, when recent experiences and sorrows were still fresh in the memory of people, when the earth itself still kept traces of fierce battles.
During the years of the Patriotic War, many young artists came to the fore, for whom work on battle themes was a great and fruitful school of ideological and creative growth.
Among them, the 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, great battle on the Volga, crossing the Dnieper and storming Berlin.
Among this talented youth, the battle painter P. A. Krivonogov especially came to the fore. In 1945, he created the painting "Korsun-Shevchenkovsky", in which he captured one of the big battles in the Right-Bank Ukraine, during which 11 German divisions were surrounded and destroyed. The artist witnessed this operation, which determined the authenticity and documentary accuracy of the painting.
Along with the historical, battle and everyday genres, portraits and landscapes occupied a prominent place in Soviet wartime painting.
The art of the artist A. M. Gerasimov reached a high flowering. In 1944, he painted one of his best works - a group portrait of the oldest Russian artists V. N. Meshkov, I. N. Pavlov, V. K. Byalynitsky-Birul and V. N. Baksheev.
A whole gallery of portraits of Belarusian partisans was left to us by the artist F. A. Modorov. Here are people of various ages and ranks, well-known illustrious commanders and ordinary participants in partisan raids. The artist focused on revealing the inner world of everyone, lovingly painted their courageous simple faces.
New features are also noted in landscape painting. The artists put the excited feelings of Soviet patriots into the military landscape. They showed peaceful villages and towns burned 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. While maintaining portrait likeness, the artist achieves an expressive transmission of the most bright features character of a person. 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
It was widely covered in the literature, especially in Soviet times, as many authors shared personal experience and they themselves experienced all the horrors described along with ordinary soldiers. Therefore, it is not surprising that first the war and then the post-war years were marked by the writing of a number of works dedicated to the feat of the Soviet people in the brutal struggle against Nazi Germany. You cannot pass by such books and forget about them, because they make us think about life and death, war and peace, past and present. We bring to your attention a list of the best books on the Great Patriotic War that are worth reading and rereading.
Vasil Bykov (books are presented below) - an outstanding Soviet writer, public figure and WWII participant. Probably one of the most famous authors of military novels. Bykov wrote mainly about a person during the most severe trials that fall to his lot, and about the heroism of ordinary soldiers. Vasil Vladimirovich sang in his works the feat of the Soviet people in the Great Patriotic War. Below we look at the most famous novels this author: Sotnikov, Obelisk and Survive Until Dawn.
The story was written in 1968. This is another example of what was described in fiction. Initially, the arbitrariness was called "Liquidation", and the plot was based on the author's meeting with a former fellow soldier, whom he considered dead. In 1976, based on this book, the film "Ascent" was made.
The story tells about a partisan detachment that is in great need of provisions and medicines. Rybak and the intellectual Sotnikov are sent for supplies, who is ill, but volunteers to go, since there were no more volunteers. Long wanderings and searches lead the partisans to the village of Lyasiny, where they rest a little and receive a sheep carcass. Now you can go back. But on the way back they run into a squad of policemen. Sotnikov is seriously injured. Now Rybak must save the life of his comrade and bring the promised provisions to the camp. However, he does not succeed, and together they fall into the hands of the Germans.
Many were written by Vasil Bykov. The writer's books were often filmed. One of these books was the story "Obelisk". The work is built according to the “story within a story” type and has a pronounced heroic character.
The hero of the story, whose name remains unknown, comes to the funeral of Pavel Miklashevich, a village teacher. At the commemoration, everyone remembers the deceased with a kind word, but then Frost comes up, and everyone falls silent. On the way home, the hero asks his fellow traveler what kind of Moroz has to do with Miklashevich. Then he is told that Frost was the teacher of the deceased. He treated the children as if they were his own, took care of them, and Miklashevich, who was oppressed by his father, took to live with him. When the war began, Frost helped the partisans. The village was occupied by the police. One day, his students, including Miklashevich, sawed the bridge supports, and the police chief, along with his henchmen, ended up in the water. The boys were caught. Frost, who by that time had fled to the partisans, surrendered in order to free the students. But the Nazis decided to hang both the children and their teachers. Before his execution, Moroz helped Miklashevich escape. The rest were hanged.
The story of 1972. As you can see, the Great Patriotic War in literature continues to be relevant even after decades. This is also confirmed by the fact that Bykov was awarded the State Prize of the USSR for this story. The work tells about Everyday life military intelligence officers and saboteurs. Initially, the story was written in Belarusian, and only then translated into Russian.
November 1941, the beginning of the Great Patriotic War. Lieutenant of the Soviet army Igor Ivanovsky, the protagonist of the story, commands a sabotage group. He will have to lead his comrades behind the front line - to the lands of Belarus, occupied by the German invaders. Their task is to blow up the German ammunition depot. Bykov tells about the feat of ordinary soldiers. It was they, and not staff officers, who became the force that helped win the war.
The book was filmed in 1975. The script for the film was written by Bykov himself.
The work of the Soviet and Russian writer Boris Lvovich Vasiliev. One of the most famous front-line stories is largely due to the film adaptation of the same name in 1972. “And the dawns here are quiet…” Boris Vasiliev wrote in 1969. The work is based on real events: during the war, soldiers serving on the Kirov railway prevented German saboteurs from blowing up the railway track. After a fierce battle, only the commander of the Soviet group remained alive, who was awarded the medal "For Military Merit".
“The Dawns Here Are Quiet…” (Boris Vasiliev) - a book describing the 171st junction in the Karelian wilderness. Here is the calculation of anti-aircraft installations. The soldiers, not knowing what to do, begin to get drunk and mess around. Then Fyodor Vaskov, commandant of the section, asks to "send non-drinkers." The command sends two squads of anti-aircraft gunners to him. And somehow one of the new arrivals notices German saboteurs in the forest.
Vaskov realizes that the Germans want to get to strategic targets and understands that they need to be intercepted here. To do this, he collects a detachment of 5 anti-aircraft gunners and leads them to the Sinyukhina ridge through the swamps along a path he knows alone. During the campaign, it turns out that there are 16 Germans, so he sends one of the girls for reinforcements, while he pursues the enemy. However, the girl does not reach her own and dies in the swamps. Vaskov has to enter into an unequal battle with the Germans, and as a result, the four girls remaining with him die. But still the commandant manages to capture the enemies, and he takes them to the location of the Soviet troops.
The story describes the feat of a man who himself decides to resist the enemy and not allow him to walk on his native land with impunity. Without the order of the authorities, the main character himself goes into battle and takes 5 volunteers with him - the girls volunteered themselves.
The book is a kind of biography of the author of this work, Boris Lvovich Vasiliev. The story begins with the fact that the writer tells about his childhood, that he was born in Smolensk, his father was the commander of the Red Army. And before becoming at least someone in this life, choosing his profession and deciding on a place in society, Vasiliev became a soldier, like many of his peers.
"Tomorrow there was a war" - a work about the pre-war period. Its main characters are still very young students of the 9th grade, the book tells about their growing up, love and friendship, idealistic youth, which turned out to be too short due to the outbreak of war. The work tells about the first serious confrontation and choice, about the collapse of hopes, about the inevitable growing up. And all this against the backdrop of a looming grave threat that cannot be stopped or avoided. And in a year, these boys and girls will find themselves in the heat of a fierce battle, in which many of them are destined to burn out. However, in their short lives they will learn what honor, duty, friendship and truth are.
A novel by front-line writer Yuri Vasilyevich Bondarev. The Great Patriotic War in the literature of this writer is presented especially widely and became the main motive of all his work. But the most famous work of Bondarev is the novel "Hot Snow", written in 1970. The action of the work takes place in December 1942 near Stalingrad. The novel is based on real events - an attempt german army release the sixth army of Paulus, surrounded at Stalingrad. This battle was decisive in the battle for Stalingrad. The book was filmed by G. Egiazarov.
The novel begins with the fact that two artillery platoons under the command of Davlatyan and Kuznetsov will have to gain a foothold on the Myshkova River, and then hold back the offensive German tanks hurrying to the rescue of the army of Paulus.
After the first wave of the offensive, Lieutenant Kuznetsov's platoon is left with one gun and three soldiers. Nevertheless, the soldiers continue to repel the onslaught of enemies for another day.
"The Fate of a Man" is a school work that is studied within the framework of the theme "The Great Patriotic War in Literature". The story was written by the famous Soviet writer Mikhail Sholokhov in 1957.
The work describes the life of a simple driver Andrei Sokolov, who had to leave his family and home with the outbreak of World War II. However, the hero did not have time to get to the front, as he immediately gets injured and ends up in Nazi captivity, and then in a concentration camp. Thanks to his courage, Sokolov manages to survive captivity, and at the end of the war he manages to escape. Once he gets to his own, he gets a vacation and goes to his small homeland, where he learns that his family died, only his son survived, who went to war. Andrei returns to the front and learns that his son was shot dead by a sniper on the last day of the war. However, this is not the end of the hero's story, Sholokhov shows that even if you lose everything, you can find new hope and find the strength to carry on.
The book of the famous and journalist was written in 1954. For this work, the author was awarded the Lenin Prize in 1964. And this is not surprising, because the book is the result of Smirnov's ten-year work on the history of defense Brest Fortress.
The work "Brest Fortress" (Sergey Smirnov) is a part of history itself. Writing literally bit by bit collected information about the defenders, wishing that their good names and honor were not forgotten. Many of the heroes were captured, for which, after the end of the war, they were convicted. And Smirnov wanted to protect them. The book contains many memories and testimonies of the participants in the battles, which fills the book with true tragedy, full of courageous and decisive actions.
The Great Patriotic War in the literature of the 20th century describes the life of ordinary people who, by the will of fate, turned out to be heroes and traitors. This cruel time crushed many, and only a few managed to slip between the millstones of history.
"The Living and the Dead" is the first book of the famous trilogy of the same name by Konstantin Mikhailovich Simonov. The second two parts of the epic are called "Soldiers Are Not Born" and "Last Summer". The first part of the trilogy was published in 1959.
Many critics consider the work one of the brightest and most talented examples of the description of the Great Patriotic War in the literature of the 20th century. At the same time, the epic novel is not a historiographical work or a chronicle of the war. The characters in the book are fictional people, although they have certain prototypes.
The literature devoted to the Great Patriotic War usually describes the exploits of men, sometimes forgetting that women also contributed to the common victory. But the book of the Belarusian writer Svetlana Aleksievich, one might say, restores historical justice. The writer collected in her work the stories of those women who took part in the Great Patriotic War. The title of the book was the first lines of the novel "The War under the Roofs" by A. Adamovich.
Another story, the theme of which was the Great Patriotic War. In Soviet literature, Boris Vasiliev, whom we have already mentioned above, was quite famous. But he received this fame precisely thanks to his military work, one of which is the story "It does not appear on the lists."
The book was written in 1974. Its action takes place in the very Brest Fortress, besieged fascist invaders. Lieutenant Nikolai Pluzhnikov, the protagonist of the work, ends up in this fortress before the start of the war - he arrived on the night of June 21-22. And at dawn the battle begins. Nikolai has the opportunity to leave here, since his name is not on any military list, but he decides to stay and defend his homeland to the end.
The documentary novel Babi Yar was published by Anatoly Kuznetsov in 1965. The work is based on the childhood memories of the author, who during the war ended up in the territory occupied by the Germans.
The novel begins with a short author's preface, a short introductory chapter, and several chapters, which are grouped into three parts. The first part tells about the withdrawal of the retreating Soviet troops from Kyiv, the collapse of the Southwestern Front and the beginning of the occupation. Also included here were scenes of the execution of Jews, explosions Kiev Pechersk Lavra and Khreshchatyk.
The second part is completely devoted to the occupational life of 1941-1943, the deportations of Russians and Ukrainians as workers to Germany, about the famine, about underground production, about Ukrainian nationalists. The final part of the novel tells about the liberation of the Ukrainian land from the German invaders, the flight of the policemen, the battle for the city, the uprising in the Babi Yar concentration camp.
The literature about the Great Patriotic War also includes the work of another Russian writer who went through the war as a military journalist, Boris Polevoy. The story was written in 1946, that is, almost immediately after the end of hostilities.
The plot is based on an event from the life of the USSR military pilot Alexei Meresyev. His prototype was a real character, a hero Soviet Union Alexei Maresyev, who, like his hero, was a pilot. The story tells how he was shot down in battle with the Germans and badly wounded. As a result of the accident, he lost both legs. However, his willpower was so great that he managed to return to the ranks of Soviet pilots.
The work was awarded the Stalin Prize. The story is imbued with humanistic and patriotic ideas.
Maria Glushko is a Crimean Soviet writer who went to the front at the beginning of the Second World War. Her book Madonna with Ration Bread is about the feat of all mothers who had to survive the Great Patriotic War. The heroine of the work is a very young girl Nina, whose husband goes to war, and she, at the insistence of her father, goes to evacuate to Tashkent, where her stepmother and brother are waiting for her. The heroine is in the last stages of pregnancy, but this will not protect her from the flow of human troubles. And in a short time, Nina will have to find out what was previously hidden from her behind the well-being and tranquility of the pre-war existence: people live in the country so differently, what are their life principles, values, attitudes, how do they differ from her, who grew up in ignorance and wealth. But the main thing that the heroine has to do is to give birth to a child and save him from all the misfortunes of the war.
Such characters as the heroes of the Great Patriotic War, literature painted the reader in different ways, but the most memorable, resilient and charismatic, of course, was Vasily Terkin.
This poem by Alexander Tvardovsky, which began to be published in 1942, immediately received popular love and recognition. The work was written and published throughout the Second World War, the last part was published in 1945. The main task of the poem was to maintain the morale of the soldiers, and Tvardovsky successfully completed this task, largely due to the image of the protagonist. Daring and cheerful Terkin, who is always ready for battle, won the hearts of many ordinary soldiers. He is the soul of the unit, a merry fellow and a joker, and in battle he is a role model, a resourceful and always achieving his goal warrior. Even being on the verge of death, he continues to fight and is already in a fight with Death itself.
The work includes a prologue, 30 chapters of the main content, divided into three parts, and an epilogue. Each chapter is a small front-line story from the life of the protagonist.
Thus, we see that the literature of the Soviet period widely covered the exploits of the Great Patriotic War. We can say that this is one of the main themes of the middle and second half of the 20th century for Russian and Soviet writers. This is due to the fact that the whole country was involved in the battle with the German invaders. Even those who were not at the front worked tirelessly in the rear, providing soldiers with ammunition and provisions.
I Introduction
II. Literature during the Second World War
Sh. Art during the Second World War
3.1. Cinematography and theatrical art.
3.2. propaganda poster like main view fine arts during WWII.
I . Introduction
During the Great Patriotic War, the struggle for the freedom and independence of the motherland 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 is precisely the mobilization of the spiritual forces of the Soviet people during the Great Patriotic War that is the main task of our literature and our art, which have become a powerful means of patriotic agitation.
II . Literature during the Second World War
The Great Patriotic War is an ordeal that befell the Russian people. The literature of that time could not remain aloof from this event.
So on the first day of the war, at a rally of Soviet writers, the following words were heard: "Every Soviet writer is ready to give everything, 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 words were justified. From the very beginning of the war, the writers felt "mobilized and called." About two thousand writers went to the front, more than four hundred of them did not return. These are A. Gaidar, E. Petrov, Yu. Krymov, M. Jalil; M. Kulchitsky, V. Bagritsky, P. Kogan died very young.
Frontline writers fully shared with their people both the pain of retreat and the joy of victories. Georgy Suvorov, a front-line writer who died shortly before the victory, wrote: “We 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.
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. Tolstov, 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. The poems "Wait for me" by Konstantin Simonov, "Dugout" by Alexander Surkov, "Spark" by 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: heartfelt poems about Moscow by Surkov and Gusev, about Leningrad by Tikhonov, Olga Berggolts, and Isakovsky about the Smolensk region appeared.
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 Second World War. The most famous poets of that time were: Nikolai Tikhonov, Alexander Tvardovsky, Alexei Surkov, Olga Berggolts, Mikhail Isakovsky, Konstantin Simonov.
In the poetry of the war years, three main genre groups of poems can be distinguished: lyrical (ode, elegy, song), satirical and lyric-epic (ballads, poems).
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.
Articles were written by: Leonov, Alexei Tolstoy, Mikhail Sholokhov, Vsevolod Vishnevsky, Nikolai Tikhonov. 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 about the atrocities of the invaders, cited letters, diaries, testimonies of prisoners of war, named names, dates, numbers, 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. "Not one step further!" - so begins the article by Alexei Tolstov "Moscow is threatened by the enemy."
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 Guards, who preceded the novel The Young Guard. Very common in 1943-1945 was an essay about the feat of a large group of people. So, essays about night aviation "U-2" (Simonov), about the heroic Komsomol (Vishnevsky), and many others appear. 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. Most often, Marietta Shaginyan, Kononenko, Karavaeva, Kolosov wrote 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. Essays testify to this: "Moscow. November 1941" by Lidin, "July - December" by Simonov.
During the Great Patriotic War, such works were also created in which the main attention was paid to the fate of a person in the war. Human happiness and war - this is how one can formulate the basic principle of such works as "Simply Love" by V. Vasilevskaya, "It Was in Leningrad" by A. Chakovsky, "Third Chamber" by Leonidov.
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, who fought near Stalingrad all the long days and nights, participated in its defense, in the terrible and overwhelming battles waged by our army
The war became a great misfortune for all. But it is at this time that people manifest their moral essence, "it (war) is like a litmus test, like a special developer." Here, for example, Valega is an illiterate person, “... reads in syllables, and 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 ... ". 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.
Reading the story, you feel the author's faith in the Russian soldier, who, despite all the suffering, troubles, failures, has no doubts about the justice of the liberation war. The heroes of the story by V.P. Nekrasov live by faith in a future victory and are ready to give their lives for it without hesitation.
Sh. Art during the Second World 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. Cinematography and theatrical art.
The theatrical dramaturgy of A. Korneichuk, K. Simonov, L. Leonov and others played an important role in the development of art, starting from the first war years. "Russian people", "Invasion" later, films were made based on these plays.
Agitation assignment and journalism, caricature and poem, a record from a front-line notebook and a play published in a newspaper, a novel and radio speech, a poster figure of an enemy and an image of a mother elevated to pathos, personifying the Motherland - the multicolored spectrum of art and literature of those years included cinema, where many of the types and genres of martial art were melted down into visible, plastic images.
During the war years, the significance of different types of cinema became different than in peaceful conditions.
In art, newsreel came to the fore as the most operational type of cinema. A wide spread of documentary filming, prompt release on the screen of newsreels and thematic short and full-length films - film documents allowed the chronicle as a type of information to journalism to take its place next to our newspaper periodicals.
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.
Cameramen at the front at first filmed the same way as in peaceful days during maneuvers. Avalanches of tanks rushed on the screen, squadrons of planes flew, fighters fled in general plans ...
From the autumn of 1941, the nature of the depiction of the war in front-line film reports began to slowly change. At first, the front-line cameramen's films were reminiscent of military reports in their style. However, the desire to give not only detailed information, but also to try to comprehend the heroic epic of the Great Patriotic War was gradually felt more and more clearly.
A new character in the image of the war arose when the front approached the largest centers of the country, and the population took part in the defense of their cities. Shooting the defense of hero cities played a special role in the development of Soviet journalism. It is from these tapes that it is easiest to trace how the understanding of the people's nature of the war gradually deepened in the minds of documentary filmmakers, and how the style and nature of documentary filming changed with a change in the view of the war.
One of the first attempts at a new reflection of the heroic epic of the Patriotic War was made in a film report shot by cameramen V. Mikosha, M. Troyanovsky and S. Kogan in Odessa and Sevastopol.
In the first, June days of the war, seeing off those leaving for the front was filmed mainly in a long shot. The cameramen were primarily interested in the fact itself.
A few months later, the same chroniclers filmed the entry of Muscovites into the people's militia in a different way. The camera slowly pans over the ranks of volunteers, either stopping at the face of an old intellectual, or benevolently watching an elderly worker slowly trying on a padded jacket, or watching a young boy picking up a rifle for the first time. The operator seems to be calling on the audience to take a closer look at these faces, to try to remember them: after all, people are going to defend Moscow, and many, probably, will not return ...
In difficult days for Moscow, when the enemy was at a distance of 25-30 kilometers from the city, Muscovites saw on the screens a new newsreel - "To protect native Moscow." It began to be produced by a group of film directors who remained in Moscow (L. Varlamov, B. Nebylitsky, R. Gikov, N. Karamzinsky, I. Kopalin, S. Gurov). From materials sent to the studio by front-line
cameramen, they edited short essays and individual stories that told about the battles on the outskirts of Moscow, about the military everyday life of the Soviet capital. The last issues of the film magazine (nine issues were released during the winter of 1941/42) informed the viewer about the course of the counteroffensive of the Red Army units and the defeat fascist troops near Moscow. Most of this material was subsequently included in documentary"The defeat of the Nazi troops near Moscow"
In addition to plots in newsreels, documentary filmmakers from the very first days of the war began to release short films and review film essays that told about life Soviet state attacked by the Nazi army. Among them are: "Youth, to defend the Motherland!" (director O. Podgoretskaya), "Our Moscow" (director Y. Poselsky), "24th October" (director L. Varlamov), "Bread for the Motherland" (director L. Stepanova), etc.
At the beginning of 1942, a large documentary film "The Defeat of the Nazi Troops near Moscow" was released (directors L. Varlamova and I. Kopalin, narration by P. Pavlenko, lyrics by A. Surkov, composer B. Mokrousov). The film was about offensive operation Soviet troops near Moscow in December 1941 - January 1942, which played a huge role during the entire world war.
Since Battle of Stalingrad experiments began with synchronous sound and image recording in combat conditions. There were isolated experiments in the field of color and stereoscopic front-line shooting. In the middle of 1942, cameraman I. Gelein filmed a number of shots in the battles for Vitebsk on color film: preparations for the storming of the city, an attack, a volley of Katyushas, aviation operations, fighters around a campfire at night, an operation in a medical battalion. In 1944, cameraman D. Surensky, shortly after the blockade of Leningrad was lifted, made two stereoscopic shots in Petrodvorets destroyed by the Nazis and in Leningrad.
In the final period of the war (1944-1945), the offensive actions of the Soviet Army, its liberation mission become the themes of documentary cinematography. The chronicle operators went along with the military units advancing to the west, filmed meetings, rallies in the liberated cities, people who had been in fascist captivity, the first labor efforts of the people to restore the destroyed.
On the basis of film documents depicting the life of the front and rear, such films as “The Battle for Our Soviet Ukraine”, “Victory in the Right-Bank Ukraine” (author-director A. Dovzhenko), “Liberation of Soviet Belarus” (authors - directors V. Korsh-Sablin, N. Sadkovich), "Liberated Czechoslovakia" (author-director I. Kopalin).
Severely, the front-line cameramen truthfully recorded the spring offensive of the Soviet Army: tanks skidding in the mud, cannons that soldiers pull on themselves, close-ups of legs in boots and boots walking through the spring mess.
The audience was waiting for full-length films about the war. Working at the then poorly equipped studios in Alma-Ata, Tashkent and Dushanbe, filmmakers were forced not only to overcome many technical difficulties, but most importantly, they had to comprehend new life material, look for such imaginative solutions that would reveal the nationwide character of the struggle, awaken in people high patriotic impulse. It was a difficult civil and aesthetic process, proceeding in the shortest possible time.
It is significant that in the center of the first full-length feature film about the war - "Secretary of the District Committee", created by director I. Pyryev according to the script by I. Prut in 1942, was the image of a 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 understood people for a mortal battle with the enemy. District committee secretary Stepan Kochet, played by the wonderful actor V. Vanin, rightfully opened a gallery of large-scale, vivid characters of the Soviet cinema of the war years.
A new step towards comprehending the truth of war was made by feature cinema in the film She Defends the Motherland (1943). The importance of this picture, filmed by director F. Ermler according to the script by A. Kapler, was primarily in the creation of the heroic, truly folk character of a Russian woman - Praskovya Lukyanova - embodied by V. Maretskaya.
An intense search for new characters, new ways to solve them was crowned with success in the film "Rainbow" (1943), staged by M. Donskoy according to the scenario of Wanda Vasilevskaya S. N.
live in leading 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 is difficult to cross out 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).
During the war years, cinema, along with other arts, played the role of a political fighter and agitator, raising people to defend the fatherland. The ideas of the liberation struggle against fascism were comprehended by him in the ideological aspect - it was the struggle of the masses of the people, united by ideology, with the obscurantism of bourgeois society in its extreme expression.
3.2. Propaganda poster as the main type of fine art during the Second World War.
One of the most important types of fine arts during the war years was the poster.
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 times. Later, the first poster of the Great Patriotic War was repeatedly reproduced in print, published in England, America, China, Iran, Mexico and other countries. Among the poster sheets of June 1941 is 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 unique way artistic technique no background using only black and red colors. The figure of the warrior represents a red planar silhouette. Such a reception, of course, to some extent was 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.
Poster artists did not disregard the theme of the partisan movement. 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!
Wartime posters are not only original works of art but also authentic historical documents.
References:
History of Russian Soviet Literature. Under the editorship of prof. P.S. Vykhodtsev. Publishing house "Higher School", Moscow - 1970
For life on earth. P. Toper. Literature and war. Traditions. Solutions. Heroes. Ed. third. Moscow, "Soviet Writer", 1985
Russian literature of the twentieth century. Ed. "Astrel", 2000
- "Second World War: cinema and poster art". M., Thought, 1995
Golovkov A. "Yesterday there was a war." Magazine "Spark", No. 25 1991
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.
As in the years of the revolution, the first place in the graphics of the war years was occupied by the poster. There are two stages in its development. In the first two years of the war, the poster had a dramatic, even tragic sound. Already on June 22, the poster of the Kukryniksy appeared “We will mercilessly defeat and destroy the enemy!”. He unleashed popular hatred on the invading enemy, demanded retribution, called for the defense of the Motherland. The main idea was to repulse the enemy, and it was expressed in a harsh, laconic pictorial language, regardless of creative individuals.
Domestic traditions were widely used. So, "Motherland is calling!" I. Toidze (1941) with an allegorical female figure against the background of bayonets, holding the text of the military oath in her hands.
The poster has become, as it were, an oath of every fighter. Often, artists resorted to the images of our heroic ancestors.
At the second stage, after a turning point in the course of the war, both the image of the poster and the mood change to optimistic and even humorous. B.C. Ivanov depicts a soldier against the backdrop of a crossing across the Dnieper, drinking water from a helmet: “We drink the water of our native Dnieper. We will drink from Prut, Neman and Bug!” (1943).
During the war years, significant works of easel graphics appeared. These are quick documentary-accurate front-line sketches, different in technique, style and artistic level. These are portrait drawings of fighters, partisans, sailors, nurses, commanders - the richest chronicle of the war, later partially translated into engraving. These are landscapes of the war, among which a special place is occupied by images besieged Leningrad. This is how the graphic series by D. Shmarinov “We won’t forget, we won’t forgive!” appeared. (charcoal, black watercolor, 1942), which arose from sketches that he made in the newly liberated cities and villages, but was finally completed after the war: conflagrations, ashes, weeping over the bodies of the murdered mother and widow - everything fused into a tragic artistic image.
The historical theme occupies a special place in military graphics. It reveals our past, the life of our ancestors (engravings by V. Favorsky, A. Goncharov, I. Bilibin). Architectural landscapes of the past are also presented.
The painting of the war years also had its own stages. At the beginning of the war - basically fixing what he saw, not pretending to generalize, almost hastily "picturesque sketch". Artists painted based on living impressions, and there was no shortage of them. The plans were not always successful, the paintings lacked depth in the disclosure of the topic, the power of generalization. But there has always been great sincerity, passion, admiration for people who steadfastly endure inhuman trials, directness and honesty of artistic vision, a desire to be extremely conscientious and accurate.
During the Great Patriotic War, many young artists came to the fore, they themselves were participants in the battles near Moscow, the great battle for Stalingrad, they crossed the Vistula and the Elbe and stormed Berlin.
Of course, the portrait develops first of all, because the artists were shocked by the courage, moral loftiness and nobility of the spirit of our people. At first, these were extremely modest portraits, only fixing the features of a man of the wartime - Belarusian partisans F. Modorov and Red Army soldiers V. Yakovlev, portraits of those who fought for victory over fascism in the rear, a whole series of self-portraits. Ordinary people, forced to take up arms, who showed the best human qualities in this struggle, artists sought to capture. Later, ceremonial, solemn, sometimes even pathetic images appeared, such as, for example, the portrait of Marshal G.K. Zhukov by P. Korin (1945).
In 1941-1945. both domestic and landscape genres are developing, but they are always connected in one way or another with the war. A prominent place in the formation of both of them during the war years belongs to A. Plastov. Both genres are, as it were, combined in his painting The Fascist Has Flew (1942).
In the genre of landscape during the war years, work and the oldest masters(V. Baksheev, V. Byalynitsky-Birulya, N. Krymov, A. Kuprin, I. Grabar, P. Petrovichev and others), and younger ones, like G. Nissky, who created several expressive, very expressive paintings.
Exhibitions of landscape painters during the war speak of their understanding of the landscape in a new way, belonging to the harsh wartime. So, these years also preserved almost documentary landscapes, which eventually became a historical genre, such as “Parade on Red Square on November 7, 1941” by K.F. Yuon (1942), which captured that memorable day for all Soviet people, when the fighters went into battle straight from the snow-covered square - and almost all died.
Not devoid of a certain posterity, so alien to the art of painting, and the picture of A.A. Deineka "Defense of Sevastopol" (1942), created in the days when there was "a battle ... holy and right, a mortal battle not for the sake of glory, for the sake of life on earth." The theme itself is the reason for the huge emotional impact of the picture.
It is significant that the spirit of war, permeated with one thought - about war - is sometimes conveyed by artists in the nature of a simple genre painting. So, B. Nemensky depicted a woman sitting over sleeping soldiers, and called his work "Mother" (1945): she can be a mother guarding the sleep of her own sons-soldiers, but this is also a generalized image of all the mothers of those soldiers who fight with the enemy.
Through the ordinary, and not the exceptional, he depicts the daily feat of the people in this most bloody of all wars that have been on earth.
In the last years of the war, one of their best paintings was created by the Kukryniksy, turning 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). The artistic shortcomings of this picture are redeemed by its sincerity and genuine drama.
By the end of the war, changes are outlined, the paintings become more complex, tend to be multi-figured, so to speak, “developed dramaturgy”.
In 1941-1945, during the years of the great battle against fascism, artists created many works in which they expressed the whole tragedy of the war and glorified the feat of the victorious people.
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 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:
V. Ivanov, V. Kasiyan, A. Kokorekin, L. Golovanov and others are called classics of the Soviet patriotic poster.
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.
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.
Military painting, including battle paintings, in initial stage war was not distinguished by 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. Artists inspired by heroic deeds 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 that sailors in white robes fight 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 bright white the shape of the sailors give the canvas a special artistic expression. She also inspires the viewer, who is sure of victory over the enemy.
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.
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 monumentalists 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:
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.
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