Art historians say that in the 1920s, ideologists in the USSR paid special attention to the mass song, which they regarded as the most important tool for transforming the human psyche by means of music. Public significance of the song and predetermined the fact that the design of music editions of those years required the most talented artistic force.
The strictly outlined political framework of the cultural space in the totalitarian state forced the "generals from art" to turn to innovators - futurists and constructivists who, as is known, adopted a new "socialist religion", but constantly frightened the authorities with their rebellious art form.
At the heart of the futuristic and constructivist design of printing products lay the deliberate use of the unexpected, which gave additional expressiveness to the works. In this very often, many typographic fonts were played creatively. The covers were given, as it were, a raid of needlework and handicraft. These features, which destroyed the usual canons, determined the entire aesthetic program of the Futurists and Constructivists and created the image of artistic freedom, impromptu, and play.
The ascetic rationalism, simple geometric forms then gave the opportunity to the famous designers of the book - the constructivists El Lisitsky (1890-1941), A. Rodchenko (1891-1956), S. Telingater (1903-1969) and others to speak the language of their time, even ahead of him .
In the design of specific music editions of those years, renowned as talented artists Yu. Shaporin, B. Mosolov, popular avant-garde composer N. Roslavets, P. Miturich.
Presented at the exhibition collection of covers for music editions of the twenties of the twentieth century gives a vivid picture of the work of the artists of the book, who, in the face of obvious lack of freedom, actively continued their search for their own ways in graphic art. At the same time, it is important to emphasize that among the book illustrators-constructivists there was practically no master, whose work in the following time would not have been questioned, forgotten or forbidden.
Miniature posters, which are, in essence, the exposed covers, perfectly convey the atmosphere of those years when "poor Demyan's agitation" was sung in all cities and towns, when the reckless antireligious propaganda was gaining momentum (songs "About the deacon", "The Promised Pop"), , and young people were actively cultivated by pro-communist slogans ("Barabanchik", "Stroyka", "Bej cooperation of private traders"). For the deceased leader of the revolution, the first wooden mausoleum was already put together, which immediately turned into a symbol of the new time, often depicted with appropriate agitation goals.
Constructivist covers of Boris Titov "March of the Rabbiks" (1924), M. Loginov "Song of mowers" - from peasant songs of the rebellious Tambov province, V. Mamlin to "Village children" (1928), a futuristic composition for the cover of music draw attention. Yu. Milyutin's song "Fish Riot" and a magnificent drawing by B. Shergin for "The Tale of the Marvelous Miracle" (1926).
In general, the exhibits allow the visitor to get acquainted with the unexpected avant-garde artifacts of the long-ago era and graphically represent the intensity of the struggle of various artistic trends in the graphic arts of the twenties of the twentieth century.


Boris Golender





© 2018 Галерея «Bonum Factum».  

Ташкент, Узбекистан,ул. Садык Азимова-20,тупик-3

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