Important Art and Artists of Socialist Realism
In this work - whose title is also translated as "Give Us the Heavy Industry" - we see five men toiling in a steel factory. The work is hard; they are wearing leather to protect themselves as they struggle bare-chested towards a vast flame. The glare from the fire occupies a large corner of the canvas, but the men are clearly the subject of the work. Their profiles show stoical expressions; they are unflinching in the blistering heat. In the background, other men push coal towards enormous furnaces, while an open door revealing a cityscape beyond reminds us of the people who will benefit from their labor. Stylistically, the piece is a striking blend of Socialist Realist motifs and Pimenov's early avant-garde influences, typical of the early period of the movement.
Born in 1903, Pimenov was too young to be involved in the avant-garde activities of the 1910s, but his workers' exaggerated, elongated, and sinuous forms express his youthful debt to German Expressionism, while the almost collage-like appearance generated by bold, distinct blocks of color is loosely reminiscent of Constructivist photo-montage. At the same time, the work encapsulates many of the thematic norms of Socialist Realism: its nominal subject is the industrial might of the new Soviet state, but its real theme is the glory of collective human labor dedicated to that cause. Unified by their physical strength, the men's collaborative endeavor is also symbolized by their shared postures as they lean in towards the heat, one of them rendered in glowing gold like a hero of classical statuary. The blackened faces of the men at the front of the group take on an almost cyborg-like quality, metaphorically merging with the spirit of industry as they become embodiments of the "New Soviet Man". At the same time, this machine aesthetic is itself redolent of the avant-garde spirit of Cubo-Futurism, soon to be crushed under the heel of state-sponsored Socialist Realism.
In its striking blend of propagandist motifs and stylistic invention, Pimenov's work is an interesting example of early Socialist Realism, and indicates the limited creative freedom which artists continued to be afforded.
Brodsky's portrait of Lenin, one of the most iconic works of Socialist Realist art, depicts Lenin at the Smolny Institute, the headquarters of the revolutionary government in the months immediately following the October Revolution. All the details of the scene are intended to contrast with the excessive opulence of Tsarist Russia, from the dustsheets thrown over the chairs in the makeshift office to Lenin's humble attire and expression of calm concentration. Standing at nearly three meters high, the canvas presents the leader as almost life-size, enhancing the quality of naturalistic accuracy which pervades the work. The rendering of the polished wood of the furniture, the texture of the fabrics, and the gleaming floor, show Brodsky's technical talent - the piece is almost photographic in its accuracy.
Born in 1884 in modern-day Ukraine, Isaak Brodsky was one of the most talented Russian artists of his generation, and had been tutored in his youth by Ilya Repin, figurehead of the Peredvizhniki group, who was responsible for iconic works such as Barge-Haulers on the Volga (1870-73). Though he was of an age to participate in the revolutionary aesthetic experiments of the 1900s-10s, Brodksy's political commitments found expression through an accurate but emotive painting style influenced by late-nineteenth-century Russian Realism and European Naturalism. Indeed, he was arguably the last great artist of the Peredvizhniki era; in its close attention to informal physical posture, this work stands in the great tradition of Russian Realist portraiture inaugurated in the previous century by artists such as Ivan Kramskoi.
Lenin in Smolny was one of a number of works which Brodksy produced after Lenin's death in 1924 to canonize the leader. Like many works of Socialist Realism, it looks back to a halcyon period or event in the early history of the Soviet Union - in this case the first few months of revolutionary government - rather than engaging with the complexities of contemporary reality. Nonetheless, it gives a sense of the fervor and optimism of those early days, and of the faith that was placed in Lenin's leadership, while at the same time predicting the less accomplished version of Brodksy's Realist style that would be imposed from above after 1932.
Yuri Pimenov's 1937 painting places the viewer in the back of an open-top car cruising through central Moscow, a female driver at the wheel. All around is progress: cars are everywhere, a tram moves towards new high-rise buildings, while an entrance to the new and much vaunted Moscow subway is visible to the side. Scattered across the scene like flecks of color, busy people hurry about their day. Layers of symbolic imagery can be detected beneath the everyday surface of the image; the red flower propped on the windshield of the car, for example, indicates the artist's support for the Soviet Government.
In spite of the strict enforcement of Socialist Realist principles by this point in Stalin's regime, Pimenov's work indicates the limited but inevitable extent to which stylistic experiment continued to be practiced by Russian artists. The painting is broadly Impressionist in style, as if recreating the feel of rainswept streets; but the hazy quality also evokes a sense of dreamy aspiration (just as the female driver nods to social and cultural progress under the new regime).
At the same time, as with much Socialist Realist art of the 1930s, it is impossible not to see this image as expressing a grim dramatic irony. The previous year, the so-called "Moscow Trials", in which swaths of government officials and members were tried as saboteurs on spurious grounds, had commenced in courtrooms across the capital. This brought forth the era known as the "Great Terror", which saw unprecedented levels of police surveillance and extra-judicial killings. Artists and writers feared for their lives in this climate, and the "New Moscow" in which Pimenov was working was very different from the one he was compelled to represent; and open-top motor cars (or any car for that matter) were a luxury unimaginable for the majority of the country's population.