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  • Rogninskaia Against The Cult of The French 1930

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    Rogninskaia Against The Cult of The French 1930

    Uploaded by

    meowfruits

    Copyright:

    © All Rights Reserved
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    THE DOCUMENTS OF TWENTIETH-CENTURY ART Russian and Soviet Views of Modern Western Art 1890s to Mid-1930s EDITED BY ILIA DORONTCHENKOV TRANSLATED 8Y CHARLES ROUGLE CONSULTING EDITOR NINA GURIANOVA a UNIVERSITY OF CALIFORNIA PRESS himself, pethaps,as Raoul Dufy, who i completly unknown in dhe USSR and who. sone of che most consixea of Matisse eompanionsin-aras has managed t ea, ite Fauvism basi inten‘ons mas fully. Moving away from che analytical lmpaes- sionis fragmentation of ight in nature and towaed its synthetic aca transforma ‘ion, hehas discovered a composiionlehythim anda tension and resonance of color never achieved by Mais isa... To ploa over Cubist demise, asired that i was ust another whim of fahion, isincomprehensiby obscurants. Cubism cononts us wth many problems that we ‘cannot simply ignore, such as he relate fight andthe comeaditions bescen ol meric and neo- dimensional painting tha And Lhote has attempted wo solve syne ‘hetcallyand the problem of evercming lulan popes, which hasbeen varounly revolved by such major and genuinely cultured arse ar Georges Braque, Albert Gileizes, and Leopold Sunage. Despite thee contradictions, each of them individu ally signifcane in the development ofthe monumental Fesco, which our socialist construction is bound t develop enormously Finally, thanks to Cubism, we have encountered the problems of 2 new syle to reflect the age of machine tecnicism. On the one hand ate the Puss; on the other, Fecmand Léger has raise the question of the mass-produced thing and its influence fom contemporary ar “Teday iis idculous w fear the ideology of bourgeois Europe, We are separated byalfeent approaches cand urery differ perceptions ofthe surrounding wold. Socials i the highest sage of human development, and we have broken with the bourgeois idology of capitalist Europe once and fora. Despite the temporary resptes thachistory may granc ithe socal esis that Europes experiencing must inevitably sn facil bring w svi evolai, Eaope wl be one to each ups Inthe meantime we should borrow the technical advancements thas made during its period of cultural growth wr Frida Rosinskaia “against the Cult of the French” (1920) Frid opinshais (1878-196) published extensively 8 an ant critic n major Sve news bers and magannes. She Became a member fhe bare o the AKNR Rescition Reve {utonary Artists Art istry Sect hat was extablshedin ex 190, Tis essay appeared In ohustovenasy Ito the Masaesl1190 we must also have done with the smug srtogance of those artists who sub- sumeal of Europe’ artistic achievements wnder the exctemely vulgar and empty for- smulas“otten, Foxtot ator ar-band formalism,”™ chen it would not hare ro put an end as well oll dis bowing and scraping ro Cézanne’ “wisdom,” 1 which Ro- mov refers without quocation mark, uneriag profound maison this arts univer sally recognized "formal and technical sche.” *Vilgar arrogance” cowan modern Weser art has inficted nor only the aeists anacked by the author of the article bu also Maras theoreticians such s Plekhanov and Mehring. Moreover, all statements on recent arc by Manns leaders (for exam- pl, Rosa Luxemburg) have been exremely aegatveandby no means laudatory. Very ‘unforcunaely; Lenin never confronted tis ssue head-on, but when he happened co ‘ouch on modern arc even in passing his opinion of cheze tends was always negative (his talk at VKRUTEIN [Higher State Aristic-Technological Insist)” hie can- ‘sition with Clara Zetkin, and so on (68), lis widely known tha Plekhanov coo sidered hourgeis ae irepresiby degenerate, . Eveniff we accept che view that the frmaleulture of enacemporary Western paint ing is extremely well developed —which in my opiaion is entirely inconect—even then it cannot be concluded that ic is usefuleo us, not relevant angle nd ‘mental rma! problem confroning proltarin ar Ikhas ao socially significant themes snd consequently isignoranc of many formal problems that are inseparably connected to those themes. I shall indicate afew such >roblems: (1) che composition ofa mass scene, (2) the socio-psychologicalfeanues of characters, (3) the presentation of cl- lsions through the expresiveness of human Figures, gestures, and facial expressions ‘Are these nt formal problems? And is net tre that in this specs French painting ‘som an extremely low lrel? Finally, does ou panting not face the tsk of finding a language thats fiery and contagious but intelligible wo the broad masses, hati a language ciametically opposite to thar spolen by Western panting? Usually the partisans of Weser arcatempe co spor their nthusism ona Marx- is foundation by arguing tat the bass of proerarian at has heen dialectical lad in the paincng of che lave petid of capitalism. If his proces is complex wih r- spect to arts uch as literature andthe cinema, in which the pressure ofthe mass con- sumer is certainly Bound o exer some influence, with respect ro painting such a for- ‘mulation ofthe question docs noe withstand scrainy Finally, we must expose the error inthe combined! notion of “formal and techni

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