비교맥락적 관점에서 살펴본 러시아 리얼리즘 미술

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 33권
ㆍ저자명 : 이주은

영어 초록

The primary goal of this paper is to reinterpret the art of socialist realism from its art - historical connection to the European perspective, rather than understanding it from a political relationship with the United States. This paper will especially shed light on the paintings created between 1922 and the late 1950s when Russia was under the strict socialist dictatorship of the Soviet Union headed by Lenin and Stalin.
According to the official definition, socialist realism in art meant “realism in form and socialism in content”. The first standard that artists in the Soviet Union used as a reference was Western European art with the implication that their art would never reflect such a bourgeois perspective of the past.
In Russia from the 1930s to the 1950s, modernist art referred to art representing Europe - a bourgeois and capitalist society - which conflicted with socialist realism. From 1932, exhibitions of modernist painting were banned in the Soviet Union. As an exception, oddly enough, only paintings of the impressionists survived. Impressionism agreed with realists’ tastes and had already filtered deeply into the soul of Russian art.
Socialist realism accepted the Impressionist style mostly in the context of praising workers and their heroism in an industrial society and in the description of communist farms and the love the working class felt for their own nation. Impressionism helped Russian art to marry one’s visual experience of landscapes with subjective responses.
Through Impressionism Russian artists could simultaneously portray the impact of revolution, destruction, change and coexistence along with a depiction of a peaceful and harmonious utopian world. They could inadvertently relax the rigid political ideology of Soviet art and suggest a brighter and more positive society.

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