Художник декоративного мистецтва і художня промисловість у радянській системі виробничих відносин

Abstract

У статті розглянуто особливості мистецької діяльності в контексті радянської системи виробничих відносин – планової економіки. Представлено інституційну систему художньої галузі радянського зразка, її функції, коло пріоритетів та роль, яку в цій моделі влада відводила митцеві. Висвітлено директивний і монопольний вплив держави на мистецький процес в СРСР, зокрема через структури Спілки художників та Художнього фонду.

В статье рассмотрены особенности творческой деятельности в контексте советской системы производственных отношений – плановой экономики. Представлено институциональную систему художественной отрасли советского образца, ее функции, круг приоритетов и роль, которую в этой модели власть отводила художнику. Освещены директивное и монопольное влияние государства на художественный процесс в СССР, в частности через структуры Союза художников и Художественного фонда.

The peculiarities of artistic activity in the context of the Soviet system of planned economy are considered. The institutional system of the art industry of the Soviet era, its functions, the range of priorities and the role assigned to the artist in this model are presented. The legislative and monopolistic influence of the state on the artistic process in the USSR, in particular through the structures of the Union of Artists and the Art Foundation, is highlighted. The centralized policy of the Soviet state in the art industry, carried out through a number of institutions and regulated by the decisions of the government, was motivated by the program’s task of carrying “art to the masses”. Accordingly, the system formed the specific status of the artist, guided by the slogan “Artist – for production!”. The Soviet ideology has formed a corresponding demand – especially on unique works of monumental art for public objects, which was mainly handled by the Art Fundation as well as copied objects of “artistic crafts” for the population that was the departmental branch of “Ukrhudozprom”. This increased the need for skilled decorative arts artists, for the preparation of which the state has developed a network of higher, secondary specialized education institutions. The system of the artistic industry of the Soviet model began to form during the 1920’s, gained a clear organizational outline in the 1940’s and was reformed in the 1960’s. At the head of the system was the Union of Artists – the key organ in the hierarchy of the creative industry and the state instrument of centralized management of it. Participation in the Union opened the possibility of career growth through participation in exhibitions, obtaining favorable orders, obtaining honorary titles and awards. The Art Foundation subordinated to the Union performed economic and production functions, and the Artistic Councils, as the main censorship, determined the “ideological and artistic” quality of artistic production and approved the admission to exhibitions, the replication of industrial products or sales in public facilities. The main customer of artistic products was the state. Art became a segment of the Soviet planned economy along with the formation in 1940 of the Art Foundation of the USSR and its republican affiliates. In the department of the Art Foundation of the USSR there were a variety of enterprises – cooperatives, factories, workshops, and executed state orders. The artistic industry was posed by the state among the priority directions of the national economy such as metal rolling, machine building, production of haberdashery products. Features of the functionalization of the system are considered on the example of the development of the sphere of artistic textiles – on the scale of art crafts and individual creativity of artists.