[LCR]

Originally Posted by Eugene

LCR,
Sysoev, Vladimir P. - professor, Doctor of Arts, Honored Artist of Russia, full member of the Russia Academy of Arts, member of Peter's Academy of Sciences and Arts, secretary of the Union of Artists of Russia, chairman of the commission on art criticism and art criticism of the Union of Artists of Russia, an expert on the history of Russian art XIX - XX centuries. Specializes in the study of Russian painting of XIX - XX centuries., Studying the works of Russian artists Perova half of XX century. Taught a course on the history of Russian art XIX - XX centuries. Author of more than 70 publications including 10 monographs.

Major works:
Sysoev, VP A.Deyneka.Zhizn, art, time. Literary and artistic heritage. M., 1974.
Sysoev, VP A. Dejneka. In 2 vols. M., 1989.
Sysoev, VP Alexei Gritsay. Album. M., 2001.
Sysoev, VP Arkady Alastov. Album. M., 2002.
Sysoev, VP Viktor Ivanov. Album. M., 2002.
Sysoev, VP Gregory Korzhev. Album. M., 2002.
Series album "The Art of Young Artists" (1980, 1982.1986, 1987.1988)
http://www.rsuh.ru/section.html?id=3533
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Liana with this work ( "Traveling Girls") is not so simple and clear.
Just so ignore the opinion of the distinguished professors, too, not worth it.
I have something that is not veritsya that his collection of "dubious painting" just lay 50 years. There would have had doubts, he would have them figured out here at stake is his reputation and the respect of colleagues ( and this too must not forget).

Yes, and I do not believe that the questionable paintings were in his 50 years. In my opinion, the strength - Year 2-3

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But in general you can not understand, I'm not about Sysoev (about which nothing can not say - except to note that at his age could have become a doctor), I'm about Maciej. Here, I beg to love and to complain:

Matsa, Ivan Ludwigovich

Genus. 1893, mind. 1974 - eminent Soviet art. Genus. Austria-Hungary. Son of rural teachers. He graduated from high school, worked as a trainee in a pharmacy, and later took up journalism. Since 1915 began to publish in various journals (articles on Ibsen, Strindberg, Wedekind). In 1916 he released the book "Modern Hungarian theater," which spoke out against "unprincipled Theater. In 1915 he joined a group of Hungarian activists (see the "Aktion") (J. them. "Action" was banned for anti-militarist propaganda). During the dictatorship of the proletariat in Hungary, worked as an assistant. dir. "National Theater. After the fall of the Soviet regime emigrated to Czechoslovakia, where in 1920 joined the clandestine cell hung. KP. Later a member of the Regional Committee and otv. editor of the daily organ of the East-Slovakian region. to-ta HRC, while continuing to cooperate in the journal activists. Since 1922 he broke with the organization and activists, together with A. Barth and B. J. UUI organized. "Wedge", which set itself the task of cultural services of the revolutionary workers' movement. In 1923 he moved to Moscow, worked in Ino Glavlit. At the present time - Chairman of the Arts section of the spatial NIILiI the Communist Academy, Professor of a number of art schools, a member of HUS, corresponding member of the Communist Academy, is an energetic work on the organization of research activities in the field of Fine Arts.

Having broken with activists organizing, MA still a long time does not break with them ideologically. Installation of the "ideological revolution", substituting for the actual process of class struggle, the mechanistic role of the opposition of organizing the cognitive value of art it said in his methodology prior to 1931, when they were profoundly mistaken installation art-opened the debate.

In focusing on the efficient importance of art and contrasting this understanding of his Menshevik objectivism, M. fallen over backwards. Replacing the "organizational" mechanistic principle Bogdanov dialectics of social development, Matza often think of art as an "organization of materials, as an immediate change in the objective reality of objects, effectively removing the qualitative distinction between material and spiritual production, emasculating its ideological content. Thus Matzo reveals misunderstanding of the Leninist theory of the mind. Worldview and thinking in M. supplanted organization of mental relations, and the notion of ideas is replaced by the subject. The leading factor in a work of art in Moscow similar pereverzevskomu understanding favor de-ideologized image. In general, the epistemological theories Bogdanov now and then carried away by M. of subjective idealism. From the same mechanistic "organizational principle" can be derived and the theory of equilibrium to-Rui M. under the direct influence of the mechanistic concepts of historical materialism Bukharin contrasts in art real contradictions in social practice. These erroneous methodological orientations, expressed in a collection of theoretical essays ( "Essay on the theoretical art history), could not affect the specific arts and literary works of M. For example, built on a mechanistic theory of equilibrium, and subjective" organizational principle of the book "Lit-pa and the proletariat in the West, "by M. comes from the absolute contradiction of psychology and ideology, and artistic literatupa, in his opinion, is a means to bring" to the fullest possible balance of all elements of the social (or class) of psychology. " Ignoring the unity of psychology and ideology, Matzo finds that writers express in their works the ideology of the proletariat, do not express both his psychology, so he comes to opportunistic conclusion that the West is no proletarian literature, but there is only the literature on the workers and for workers the discussion of the "mixed-class" of psychology, etc. However, MS analysis of individual literary facts has considerable value. MA opened for example. non-proletarian character of a number of writers who were considered proletarian. Thus, MI has shown that the production of novel AMPA its fetish of the production process and inability to understand the revolutionary role of the proletariat should be regarded as a phenomenon of ideological hostility, which Sinclair with his artist's radical positions of the petty bourgeoisie does not and can not provide a revolutionary way of working. Natur-romanticism "D. London also received a M. proper evaluation. Formulation of a number of serious problems of proletarian literature and style, its shape, this is the first time MS makes this book interesting and now, despite these errors the author. By establishing a direct relationship "fundamental attributes" of art from the "fundamental characteristics" technique, MA in his book "The Art of the mature age of capitalism in the West," reproduces the theory of "organized capitalism" in spite of Lenin's assessment of the epoch of the decay of capitalism: the art of the big bourgeoisie of the past decades, in the interpretation of M . turns unbroken ascent "cheerful-class builder. There is a clear apology for the Right-of capitalism, which affects in turn the question of respect for cultural heritage, in denying the existence of proletarian art not only in the capitalist West, but also in the USSR. These installations M., rooted in his whole concept of art criticism, expressing the apparent pressure of a hostile ideology of the proletariat, which is closely related to the non-Marxist methodological position, which he acquired and held at the beginning of his scientific career in Hungary as a representative of the opposition of petty-bourgeois intellectuals. In its subsequent evolution under the direct influence of the theory and. practice of building socialism of the proletariat M. removes a number of hostile to Marxism-Leninism and the provisions on a number of issues is the correct position. But the radical revision of the methodological position of the author begins after the discussion and art-known resolution iotoricheskogo CC CPSU (B) of 23 April 1932. The result of this audit is a new scientific work, M. - "The creative approach and artistic heritage" [1933]. The great work done by the author on the direct study of Marx - Lenin - Stalin, not only helped put the correct address the methodological issues, but also gave fruitful results in the specific analysis, formulation of complex problems of artistic form and its elements, colors, songs, etc. are still in the Marxist literature were not addressed. This work is not only a turning point for the author himself, but is essential to the Marxist art history in general, despite the well-known and disputed some more abstraction of a number of individual provisions.

Bibliography: I. In Russian. lang.: The Art of modern Europe, Guise, M. - L., 1926, Literature and the proletariat in the West, Izd Communist Academy, Moscow, 1927; Art era of mature capitalism in the West, ed. However, M., 1929, Essays on the theoretical art studies, ed. However, M., 1930. In the book: "Art in the USSR and tasks of artists", ed. However, M., 1928, "Development of proletarian art", ed. However, M., 1930; "For Lenin art studies" (the debates in the Communist Academy), Ed. Yu Yanel, OGIZ - IZOGIZ, M. - L., 1932; Izora, ed. However, Moscow - Leningrad, 1932; creative method and artistic heritage, ed. However, 1933; creative issues of Soviet art, ed. However, 1933. Hungarian. lang.: Modern Hungarian drama, 1916 (Modem magyar drama); Theater, 1918 (Szinnaz); Dramaturgy, 1922 (Teljes szinpad); Agitation tales, 1921 (Agitacios mesék). A number of uncollected articles on theater, drama and general matters of art. German. lang.: Work Choir (Arbeiter chor, Dresden, 1924), Moscow (Moskau, Frankfurt am M., 1924). Translated into Japanese. lang. book "The Art of modern Europe."

II. Comments on "The Art of Modern Europe": LZ, "Under the banner of Marxism", 1926, XII; Lunacharsky AV, "New World", 1926, VII - VIII; Jakubowski, H., "October", 1926, X - XI. On "Literature and the proletariat in the West": Nusinov II, "Revolution and Culture", 1927, III - IV; Jakubowski, H., "The Red Virgin Soil, 1928, I; Matějka J., Journal of Foreign Literature, 1928, IV. On the "art of the mature capitalism in the West": Zivelchinskaya L., "Under the banner of Marxism", 1930, IV.