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  • Perelman Heroic Realism 1923 Fedorov Davydov New Realisms 1925 Excerpts

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    Perelman Heroic Realism 1923 Fedorov Davydov New Realisms 1925 Excerpts

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    meowfruits

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    © 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 form aived ais comple. The wphicted and wide ging xpercne hi European phate has inheried makes all the more able and sigan, “The comtemporary ais 2 pilosopher and merphysian Speculation a abst sina acy aeompanis buedoe no contradic his senso the Tike the poet, he clothes abstract schemes in visual images of immediate rely, ceiving the ide of unity that "shines through mace” as the beauty chat eva "These are the features we sce in the emerging outline of all-Europesn at, since Impressonisn has bac in the ip of lonely subjective explorations that feneated countless munullyingleranc curtents claiming «© possess the whole truth as Viktor Perelman “From the Wanderers to Meroic Realism” 11923), ayer toc he wat this report the itr Whtor Perelman (1892-167 praisedthe Pet. Impresionsishighy and old postve evtuatin the French nluence on Russian ar? ‘ter the founding f AKRRR Assocation ita Revlutonary Russias potion chang ‘scaly Ths paper was delneedat an expande sessional the ARDRR presidium and ary fection nOetaber 128 sree hve tm Asotin hada eosin ass, Storm vospominsot tte okumeto [Assasin of Ariss of Revltonary Russia. Ct tection of Memos. Esp, eciment) amsadby LV. Gronskiand VN. Perelman Mscon: Irobreatenoe kus, 17H. number of contemporary asic currents and schools fom the pesspetve oftheir profound connection with economics; thus she dialectical method is destined to be the reagent thar ries and ests the authenciciy of the lates art theories based ona analysis ofthe political and economic conditions oftheir specific historical petod. Production relations ae the principle, the politcal and eoonomic fame, on which historical conditions embroider the legane pacer ofthe plastic ars 4 ‘Only now ist hocomirg clear that the dizyng path from Signa, Cézanne and Picasso to our absiractionsm and the wld “Dadaiss"—all ofthis in the course of some try co forty years—teprsent the progressive decay ofthe visual ars. This proces the natural esl ofthe decay of caps, one consoquence of which is the appearance of so-called leftist tendencies in art. Precisely because he fst element to decay inthe visual arts was the est stable one—color—we maybe aber see what ‘long and agonizing line back we must follow: New we knock on an open door and frque the specific bourgoi and decadent character of prerevolationay Fucus?» ‘Towhatbut devon pili do we one he deine gic divorce of form and 1 esinan Toe kono Eaten Yn huss Maange tl 3925 1 + content inthe Western visual ars of the 187s, aad eo wha but capital asic en- tee the pas of global rot che period preceding the world wat, do we owe she ap- of dhe Fae? .You had have someting wih wich you could defen ourelfand gall worked up—this where Paso’ snuted vin comes ra, ‘rth ime one could either woady co the capital calural machine, whichis een. fly what Mains Kalin Fuuism did, inthe presence of ated borgeiie aware of the approaching socal disse. enjoy iging inte ting waste ofthe de- Cayed sual ar For the fara ar historian, che anes of Piss, out Kandinsy, ‘Mie, and their ilk wil be the most abviows and ieitable prof ofthe insane faror ofthe impase that ripped the world Bouse. fall the deposits that hve accumlated on Cézanne at stepped aay 0 cometh, eis “dug ou"—you wll se him ashe realy wat 8 man “sinking about Iie Ssh hand, sel eaught ari om whom you ca etn clove art and self src for the ae of arta man whose fas you can alin, bu aman and arcs shoe specif ight defers conseae the principal conten of the ae of his inn erable iia. ‘Céanne knew nothing sbout at ha speaks the ase. Because of his sci roots he seal could nor even imagine the possibility of such ar. He once r= srk ply tha"ar speaks nly wan exremelylimied cic.” Further on we shall sc that Malevich and Kandinsky’ philosophy of ar” was constracted long che ‘same lines thereby demonstatig its specific decadent horgeoi essence. Cézanne isan excemely significant example, rhe is the fier of she so-called leis cures in art. Valor was ance asked what he thought of Cézanne, C& sane” he aosnred. “Oh expetlly walk ony In the ame way, withour sthr ignoring Clans formal achievements ov aiding him wih excesive enthusiasm—sometimes respectfully and sometimes ds ‘espetilly—ie young reais ariss who in 1922 advanced the watchword of "heroic ‘eas in Russian ar walked on by. This small group was untouched by the uni ‘versal almest psychotic enthusiasm for Cévanne smong mast atts Peshaps this is why this group is now destined ro save the Russian school from Cérannist nd post: (Chaansistinfstetions ‘We must first of all ery rtcally review a pseudo-law hat the majority consider ax. jomutic. Tam speaking ofthe conviction that Rusian art cinnot survive without French art and that Rusian ar has no choice but to acknowledge the hegemony of Paris and repeat whar French art has already done... We must only emphasize cht the basic elements of French art of the later alf ofthe ninetcenth century and the begining ofthe rwentieth emerged quite undersandably and natually bus on ous sol they are an alien plane we have no ned to cuivate, With no intent whatever to lapse inte superfluous Slavophilism, we can state ‘hae since the October Revolution \wehave been following our own course of development, whose significance is enot- mous for world development. ional the other avant-grais—which an the whol corresponded to two diferent ‘conceptions of at: art s the reflection of reality, and art as @ means of rganiing ie Inbotn cases, the relationship to Western at was key. For instance, Lunacharski be. ‘ieved thal the evolution of scilist art was connected with retum toa "Grand Sile™ patterned an the Renaissance. Contemporary nd recent Western art last out in this respect (107,108), The second conception wastorn ofthe efor to appropriate international ventgurde trends, as was most clear formulated in the works of he assimiatad Hungarian émi- aréivan Matsa Jsnos Méeza [108 andthe programof the October group 1928) Among the partisans ofthis concept were members ofthe Left, at rites such Fedorov. (Oavydov. anda nur of foreign Communists [104 As rule. they rated any frat {ulintuence of “individualist” and bourgeois easel panting on socialist culture. faver- Inginsteadart that contribute to shaping an integral socal environment architecture, industria design, photomerage, etc. This doctrine originated inthe nation of the tructuraltnk between socialism andimnperilii: by barowing highy organized pro- duction, the former resent basi contraction of capitalism betwen collective productionand private explo tation. Thus a great many cationic rends became the predecessors of socialist at ‘The ater concept was rejected by Stalinist critics around 1990, and its supporters had to perform public penance [118. The former, tradtgnslis dotrine became the natural backpround fer the Socialist Realism ofthe 1930 to 1950s, which almost to- telly ignored foficaly, ates the experience af modern Western ar toe Aleksel Fedorov-Davydoy “On the Now Realism in Connection with Western European Trends in Art” (1925) ‘Neko Fedorv-Dayydor 1900-1969 stati Kazan Univers andthe nite ct rchaee ogy ane History of Ataf te RANION(Ruesian Asean of Slee Reseach inside inane Sei cincelin Mose Inthe 19205 he ela nuter af poston bath in acadee ‘mia and injornalism. From 183 1a 193 ne neage the Department of New Ping athe “rath Gallery andin later yearshe taught a Moscow Unnersy In ths rte pulsed inisussto vudshehins le othe Laborer 1711928), Fedor Davy argues whet ics such 9 Lunacarai who nied Expresscrizm sd Rain iguative pining of the 1920 went a Soviet at Now it scems, hardly anyone would disagree that our contemporary painting is more and more cal apiing rovard a kind of new cals. s most unreserved advocates ate he ARR artis. Although they have writen calam on their banner, however, ‘our contemporary artists donot agiee an che meaning ofthe term. Realism, afer all «can be understood in eo vay in the sense of naturale, tai, the attempt to tender che suerounding wos as iis, as objectively as possible; and in the sense of. the sai worldview of matali in pining, which tas evolutionary as mate- fale philosophy. Arles with reapec to he galof ering monument ait isthe AKARR anise who ate mort responsive the demands of today. which s why the question of ew res becomes especialy get. To undentand and evaluate AKER, oe mast understand what sre of ress they ae. Weare no likely woe if \wesy that they undead eam inten narra thematic peneisense Here—eing aide he quaton of talents perhaps the principal reason why they canoe genuinely reflector rvoaon, Naurlisms passive methods cannot convey eds and eis Ic is enrerely intresting to examine what going on just now in the West. Our

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