{"title":"1940-1950年苏联绘画中仪式性军人肖像的传统","authors":"I. Rutsinskaya","doi":"10.31249/hoc/2021.03.06","DOIUrl":null,"url":null,"abstract":"Based on Soviet painting of the 1940-1950 s the article explores the features of the genre, that became especially popular in the last years of the Great Patriotic War and the first post-war years. It represents military leaders and statesmen standing against the battle scenes or directly on the battlefield. Traditions, semantics, compositional techniques of this genre developed in Modern era. Analysis of the socialist realism paintings allows seeing the process of «appropriation» of the imperial tradition.","PeriodicalId":256945,"journal":{"name":"Herald of Culturology","volume":"159 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"TRADITIONS OF THE CEREMONIAL MILITARY PORTRAIT IN SOVIET PAINTING OF THE 1940-1950\",\"authors\":\"I. Rutsinskaya\",\"doi\":\"10.31249/hoc/2021.03.06\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Based on Soviet painting of the 1940-1950 s the article explores the features of the genre, that became especially popular in the last years of the Great Patriotic War and the first post-war years. It represents military leaders and statesmen standing against the battle scenes or directly on the battlefield. Traditions, semantics, compositional techniques of this genre developed in Modern era. Analysis of the socialist realism paintings allows seeing the process of «appropriation» of the imperial tradition.\",\"PeriodicalId\":256945,\"journal\":{\"name\":\"Herald of Culturology\",\"volume\":\"159 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Herald of Culturology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.31249/hoc/2021.03.06\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Herald of Culturology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.31249/hoc/2021.03.06","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
TRADITIONS OF THE CEREMONIAL MILITARY PORTRAIT IN SOVIET PAINTING OF THE 1940-1950
Based on Soviet painting of the 1940-1950 s the article explores the features of the genre, that became especially popular in the last years of the Great Patriotic War and the first post-war years. It represents military leaders and statesmen standing against the battle scenes or directly on the battlefield. Traditions, semantics, compositional techniques of this genre developed in Modern era. Analysis of the socialist realism paintings allows seeing the process of «appropriation» of the imperial tradition.
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