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Christina Lodder


(b Moscow, July 25, 1893; d Moscow, Feb 25, 1973).

Russian painter. He was trained in the 19th-century Realist tradition of the Wanderers and became one of the most important artists in establishing Socialist Realism as the official art of the USSR. He studied with Pyotr Kelin in 1912 and at the Moscow School of Painting, Sculpture and Architecture (1913–18) under Nikolay Kasatkin (1859–1930), Abram Arkhipov and Konstantin Korovin. He then served in the Red Army and worked as a stage designer in the province of Kherson from 1919 to 1922. In 1922 he participated in the 47th Wanderers’ exhibition in Moscow and became one of the members of AKhRR (the Association of Artists of Revolutionary Russia), promoting Realism and attacking the abstract experiments of the avant-garde. Ioganson argued that ‘the Russian painter is an innovator…not an innovator of form divorced from content, but a true innovator, reflecting the new tendencies of reality’.

Ioganson produced highly detailed canvases depicting the new industrial enterprises associated with the building of Socialism, for example the ...


John E. Bowlt


(b Borisoglebsk, Voronezh province, March 10, 1880; d Moscow, March 18, 1960).

Russian painter. After studying at various private art schools, including those of Lev Dmitriyev-Kavkazsky (1849–1916) in St Petersburg and Konstantin Yuon in Moscow, he enrolled in 1906 at the Moscow School of Painting, Sculpture and Architecture, where his principal teacher was Konstantin Korovin. Kuprin quickly became acquainted with contemporary developments in painting, thanks especially to his exposure to the collections of French Impressionist and Post-Impressionist works owned by Ivan Morosov and Sergey Shchukin and also the international exhibitions organized by the journal Zolotoye Runo (Golden Fleece). The early works of Derain and Picasso were of particular importance to Kuprin at that time.

Kuprin was close to Robert Fal’k, Pyotr Konchalovsky, Aristarkh Lentulov, Il’ya Mashkov and Vasily Rozhdestvensky, and he joined the Jack of Diamonds group in 1910, thereby forming a temporary allegiance with its avant-garde leaders Natal’ya Goncharova, Mikhail Larionov, Kazimir Malevich and Vladimir Tatlin. At this point Kuprin sympathized with their concentration on primitive, indigenous art forms, and his paintings of the following decade, such as ...


(b Moscow, Sept 22, 1859; d Moscow, Dec 6, 1937).

Russian painter and designer. He attended the Moscow School of Painting, Sculpture and Architecture in 1881–90, studying under Vladimir Makovsky, Vasily Polenov and Illarion Pryanishnikov, and joined the Wanderers (Peredvizhniki) in 1891. At first Malyutin supported the traditions of narrative Realism, as is clear from paintings such as Peasant Girl (1890; Moscow, Tret’yakov Gal.), although he quickly developed other interests in the popular arts and crafts, in history painting and in plein-air painting.

Like other Russian artists of his time such as Ivan Bilibin, Nicholas Roerich, the Vasnetsov brothers and Mikhail Vrubel’, Malyutin turned for inspiration to Russian folklore, ancient history and the domestic arts, as in his panoramic Battle of Kulikovo for the Historical Museum in Moscow (1898) and in his invention in 1889 of the matryoshka (Russian stacking doll), which, misleadingly, has now been accepted as an integral part of traditional Russian folk art. In the 1890s he worked at the ...


Sergey Kuznetsov

[Yehuda; Iyeguda] (Moiseyevich)

(b Novo-Aleksandrovsk, Kovenskaya province, ?1854; d Vitebsk [now Viciebsk], Feb 28, 1937).

Belarusian painter. After studying under Boris Gershovich and then under Pavel Chistyakov (1832–1919) at the St Petersburg Academy of Arts (1882–5), he founded his own art school in Viciebsk, where his pupils included Marc Chagall and Solomon Yudovin. The school paved the way for the intense artistic activity in Viciebsk in 1918–22, although Pen himself did not welcome the extreme avant-garde. The Unovis group founded by Kazimir Malevich left no room for Pen’s art, but he continued to teach nevertheless. Few of Pen’s works have survived; most of the 700 works that he gave to the Belarusian government and that were housed in the Yury Pen Museum in Viciebsk until World War II have been lost. Those works that have survived often reveal the artist’s desire to capture his surroundings, as in Old Soldier (Minsk, Belarus’. A. Mus.). His smaller paintings, such as Jewish Rabbi (untraced), the naive style of which resembles the works of Henri Rousseau and Niko Pirosmanashvili, bring together people, objects and nature. Pen considered realism the only possible means of expression in painting. Therefore, after he produced works with new titles in the 1920s, such as ...


David Elliott and Piotr Juszkiewicz

[Rus. Sotsialisticheskiy Realizm]

Term used to describe the idealization of the dictatorship of the proletariat in the arts, apparently first used in the Soviet journal Literaturnaya Gazeta on 25 May 1932. After the cultural pluralism of the 1920s in the Soviet Union, and in line with the objectives of the Five-year plans, art was subordinated to the needs and dictates of the Communist Party. In 1932, following four years of ideological struggle and polemic among different artistic groups, the Central Committee of the party disbanded all existing artistic organizations and set up in their place party-led unions for individual art forms. In the summer of 1934, at the First All-Union Congress of Soviet Writers, Socialist Realism was proclaimed the approved method for Soviet artists in all media. Andrey Zhdanov, who gave the keynote address at the Congress, was Stalin’s mouthpiece on cultural policy until his death in 1948. In the words of his leader, the artist was to be ‘an engineer of the human soul’. The aim of the new creative method was ‘to depict reality in its revolutionary development’; no further guidelines concerning style or subject-matter were laid down. Accordingly, the idea of what constituted Socialist Realism evolved negatively out of a series of cultural purges orchestrated by Zhdanov in the pages of ...


Sergey Kuznetsov

[ Zhmuydzinavichyus, Antanas ( Ionasovich )]

(b Seiriai, Seinai region, Oct 31, 1876; d Kaunas, Aug 9, 1966).

Lithuanian painter, administrator and writer. He qualified as a drawing teacher at the St Petersburg Academy of Arts and taught at the Warsaw Commercial College (1899–1905) while continuing his studies. He also studied in Paris (from 1905), Munich (1908–9) and Hamburg (1912). During a short stay in Vilnius in 1906–7 he became close to Petras Rimša and Mikalojus Čiurlionis, founding the Lithuanian Art Society, which combined two trends in Lithuanian art: realist (Žmuidzinavičius, Petras Kalpokas, Rimša) and Symbolist (Čiurlionis). He was the initiator of the first Lithuanian Art Exhibition, held in Vilnius in 1907, at which he showed 35 paintings, among them Peasant Kitchen (1905; Kaunas, A. Žmuidzinavičius Mem. Mus.). During these years Žmuidzinavičius was influenced by the work of the Symbolists, as evident in Horseman (1910–12; Kaunas, A. Žmuidzinavičius Mem. Mus.). His essays on art were published in periodicals and newspapers in Vilnius, Kaunas and Warsaw in the first two decades of the 20th century. He maintained contact with Lithuanian emigrés in the USA, which he visited in ...