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Поднимающий знамя. Поднимающий знамя картина

Поднимающий знамя — узбекистан вики

Триптих «Коммунисты» посвящён Великой Октябрьской революции и помимо центрального полотна «Поднимающий знамя» включает в себя с левой части картину «Мастерская» (известна так же как «Гомер» или «Рабочая студия»), где изображён красноармеец-скульптор ваяющий гипсовый бюст Гомера — певца древних героев, в правой части картина «Интернационал» на которой изображены два бойца на поле боя — знаменосец и трубач, играющий революционный гимн. Сам художник наиболее удачными считал центральную и левую части триптиха.[4]

Тема революционной борьбы поставлена художником широко, он не изображает каких-либо конкретных событий и исторических личностей, но триптих не внеисторичен: место действия — рубеж XIX и XX веков; действующие лица — русские рабочие; события — Революция и Гражданская война в России.[5]

Три холста триптиха составляют единое повествование, но каждый из них — законченная и цельная картина, и «Поднимающий знамя» освещает кульминационный момент революционной борьбы.[5]

Полотно «Поднимающий знамя»

Грубый булыжник мостовой, трамвайные рельсы — немногими деталями дается представление о месте и времени действия — эпохе революционных выступлений русского пролетариата.[6]

Безымянный боец революции поднимает Красное знамя, выпавшее из рук погибшего товарища. Он вопреки обстоятельствам готов до конца выполнить свой долг.[7]

Грубые мозолистые руки русского рабочего-большевика крепко сжимают древко, в изможденном лице затаённая ненависть и готовность отдать жизнь во имя свободы и справедливости.[6] И такое напряжение воли чувствуется в этом рабочем, в том, как пригнулся он к земле, как вздулись жилы на его руках, как поднята его голова, чтобы смотреть вперед, только вперед, что нет сомнения — он выпрямится и поднимет знамя во что бы то ни стало[5]

Картина характерна для Гелия Коржева — представителя «сурового стиля» в живописи, но всё же «впечатляет особая тяжеловесная материальность всего изображённого».[5]

Несмотря на сдержанность красочной гаммы, здесь улавливаются лаконизм и богатство содержания[7] — на фоне серой булыжной мостовой красное полотнище знамени буквально «горит и рдеет», что особо заметно в сравнении с блеклыми красками степного марева и стёртости контуров правой части триптиха и ровными чертами при спокойном дневном свете его левой части.[5]

Хотя картина отличается большой сдержанностью в колористическом отношении, сила ее эмоционального воздействия велика. Алый, словно пролитая кровь, цвет знамени звучит как набат в сопоставлении с грязно-серой булыжной мостовой.

— Как отмечал Ю.Д. Колпинский[6]

В композиции заметно влияние киноискусства: изображенное у самого нижнего края картины лицо убитого со странной преувеличенностью его черт подсказано приёмом «крупного плана».[5] Как бы «не вошедшие в кадр» детали невольно в воображении воспроизводят всю картину только что произошедшего здесь боя.[7]

Искусствовед Валерий Турчин, указывая на определённые параллели с наследием Василия Сурикова отмечал, что Гелий Коржев воспринял значение и суть национальной живописной традиции.[8]

Сотрудник отдела искусства второй половины XX века Государственной Третьяковской галереи Анна Дьяконицына отметила, что картина входит в число лучших произведений выдающихся мастеров исторической живописи:

Здесь мастерски достигнуто столь значимое в решении большой картины единство формы и содержания. Момент волевого усилия, грозной решимости для поступка, меняющего ход событий, передан Коржевым в пластическом строе композиции. Масштаб полотна и фигуры героя, выбор крупного плана, компоновка сцены по принципу кинокадра, фактурная осязательность изображенного, пронизывающая всю материю, позволяют живописцу найти ту форму, которая переносит художественное действие из сферы повествования в область экзистенции.

— Анна Дьяконицына, научный сотрудник Государственной Третьяковской Галереи[4]

В советских источниках по искусствоведению картине предавался конкретный смысл: кровь пролетария на городских мостовых, жар битв за Красное знамя на просторах России и жажда творчества в рабочем человеке с мозолистыми трудовыми руками — «таким образом художник наглядно раскрыл смысл и цели народной борьбы, великого созидания — строительства коммунизма».[5] Но начиная с 2000-х годов картину описывают как символичную, но привязанную к историческому моменту:

Картина, пожалуй, наиболее символична. Примечательно, что Коржев вообще в своих картинах не изображает каких-либо конкретных событий и героических личностей. Художник воспроизводит фрагмент жизни коммуниста, борца революции, безымянного героя. Он поднимает красное знамя с булыжника серой мостовой, ставшей полем классовой битвы.

— доктор философских наук, профессор кафедры культурологии Ледовских Н.П[7]

При этом сам художник в одном из своих поздних интервью сказал, что картина по сути не политическая: «Я изобразил героический поступок, общий для всего человечества, а не конкретный поступок коммуниста. Лично я разделяю идеи коммунизма, поэтому я назвал триптих так как назвал, но картина сама по себе не о коммунизме, она о героическом поступке.»[9]

uz.com.ru

Поднимающий знамя — ВиКи

Полотно «Поднимающий знамя»

— Как отмечал Ю.Д. Колпинский[6]

— Анна Дьяконицына, научный сотрудник Государственной Третьяковской Галереи[4]

— доктор философских наук, профессор кафедры культурологии Ледовских Н.П[7]

xn--b1aeclack5b4j.xn--j1aef.xn--p1ai

Поднимающий знамя Вики

Поднимающий знамя — центральная картина из триптиха «Коммунисты» Гелия Коржева.

Картина принесла известность художнику и стала его своеобразной визитной карточкой.[1][2]

Триптих был в 1961 году отмечен Золотой медали Академии художеств СССР, за него художник в 1966 году удостоен Государственной премии РСФСР имени И. Е. Репина. Считается одним из двух основных советских триптихов наряду с триптихом «Александр Невский» П. Д. Корина.[3]

Описание[ | код]

Полотно «Поднимающий знамя»[ | код]

И такое напряжение воли чувствуется в этом рабочем, в том, как пригнулся он к земле, как вздулись жилы на его руках, как поднята его голова, чтобы смотреть вперед, только вперед, что нет сомнения — он выпрямится и поднимет знамя во что бы то ни стало[5]

Критика[ | код]

— Анна Дьяконицына, научный сотрудник Государственной Третьяковской Галереи[4]

— доктор философских наук, профессор кафедры культурологии Ледовских Н.П[7]

Литература[ | код]

Басыров А. Я. — История создания одного произведения. Г. М. Коржев. Триптих «Коммунисты». — Л.: Художник РСФСР, 1988.
Raising the Banner: The Art of Geli Korzhev / The Museum of Russian Art. — Minneapolis, Minnesota 55419, USA: The Museum of Russian Art // September 10, 2007 — January 5, 2008.// — P. 144

Примечания[ | код]

↑ Эта композиция дала название персональной выставке Г. М. Коржева, показанной в Музее русского искусства в Миннеаполисе в 2007—2008 годах.
↑ Анна Дьяконицына — Гелий Коржев: имею право, Журнал «Третьяковская галерея» № 3(52) за 2016 год
↑ Статья «ПОЛИПТИХ, ТРИПТИХ» // Энциклопедический словарь юного художника Автор: Составители Н. И. Платонова, В. Д. Синюков Издательство: Педагогика Год издания: 1983 Страниц: 416
↑ 1 2 Анна Дьяконицына - Гелий Коржев: имею право, Журнал «Третьяковская галерея» №3(52) за 2016 год
↑ 1 2 3 4 5 6 7 Орлова М. А. — Историко-революционная тема в советском изобразительном искусстве — Москва: Искусство, 1964 — 46 с.
↑ 1 2 3 Г. М. Коржев. Поднимающий знамя. Центральная часть триптиха «Коммунисты» // Колпинский Юрий — Всеобщая история искусств в шести томах. Том 6. Книга 2 (с иллюстрациями), 1965—127 с.
↑ 1 2 3 4 Ледовских Н.П., доктор философских наук, профессор кафедры культурологии - Поднимающий знамя, 2008
↑ Turchin V. The Art of Geli Korzhev // Raising the Banner. P. 42-52.
↑ Marianne Combs — Socialist art finds life after socialism, Minnesota Public Radio News, Nov 11, 2007 (источник на английском языке)

Источники[ | код]

Ледовских Н. П., доктор философских наук, профессор кафедры культурологии — Поднимающий знамя, 2008
Велимир Мойст — Певец шока и трепета, Газета.ру, 28 августа 2012
Г. О. — Поднимающий знамя, Журнал «Пропаганда», 27 сентября 2012
Екатерина Кинякина — Гелий Коржев «Поднимающий знамя», 1957—1960, 10 неизвестных: Библия, Ленин и монстры Гелия Коржева, Сетевое издание «Москва 24», 4 апреля 2016
Анна Дьяконицына — Гелий Коржев: имею право, Журнал «Третьяковская галерея» № 3(52) за 2016 год

Ссылки[ | код]

ru.wikibedia.ru

Поднимающий знамя — Википедия РУ

Полотно «Поднимающий знамя»

— Как отмечал Ю.Д. Колпинский[6]

— Анна Дьяконицына, научный сотрудник Государственной Третьяковской Галереи[4]

— доктор философских наук, профессор кафедры культурологии Ледовских Н.П[7]

http-wikipediya.ru

Поднимающий знамя — википедия фото

Полотно «Поднимающий знамя»

— Как отмечал Ю.Д. Колпинский[6]

— Анна Дьяконицына, научный сотрудник Государственной Третьяковской Галереи[4]

— доктор философских наук, профессор кафедры культурологии Ледовских Н.П[7]

org-wikipediya.ru

Поднимающий знамя - WikiVisually

1. Государственный Русский музей – The State Russian Museum, formerly the Russian Museum of His Imperial Majesty Alexander III is the largest depository of Russian fine art in Saint Petersburg. It is also one of the largest museums in the country, the museum was established on April 13,1895, upon enthronement of Nicholas II to commemorate his father, Alexander III. Its original collection was composed of artworks taken from the Hermitage Museum, Alexander Palace, after the Russian Revolution of 1917, many private collections were nationalized and relocated to the Russian Museum. These included Kazimir Malevichs Black Square, upon the death of the Grand Duke the residence was named after his wife as the Palace of the Grand Duchess Elena Pavlovna, and became famous for its many theatrical presentations and balls. Some of the halls of the palace retain the Italianate opulent interiors of the imperial residence. The Ethnographic Department was originally set up in a specially designed by Vladimir Svinyin in 1902. The museum soon housed gifts received by Emperors family from representatives of peoples inhabiting various regions of the Russian Empire, further exhibits were purchased by Nicholas II and other members of his family as State financing was not enough to purchase new exhibits. In 1934, the Ethnographic Department was given the status of an independent museum, the city of Málaga, home to thousands of Russian expats, has signed an agreement to host the first overseas branch of the State Russian Museum. Works displayed in Malaga will range from Byzantine-inspired icons to social realism of the Soviet era and they will be on display in 2,300 square metres of exhibition space in La Tabacalera, a 1920s tobacco factory. The new museum is scheduled to open in early 2015

2. Санкт-Петербург – Saint Petersburg is Russias second-largest city after Moscow, with five million inhabitants in 2012, and an important Russian port on the Baltic Sea. It is politically incorporated as a federal subject, situated on the Neva River, at the head of the Gulf of Finland on the Baltic Sea, it was founded by Tsar Peter the Great on May 271703. In 1914, the name was changed from Saint Petersburg to Petrograd, in 1924 to Leningrad, between 1713 and 1728 and 1732–1918, Saint Petersburg was the capital of imperial Russia. In 1918, the government bodies moved to Moscow. Saint Petersburg is one of the cities of Russia, as well as its cultural capital. The Historic Centre of Saint Petersburg and Related Groups of Monuments constitute a UNESCO World Heritage Site, Saint Petersburg is home to The Hermitage, one of the largest art museums in the world. A large number of consulates, international corporations, banks. Swedish colonists built Nyenskans, a fortress, at the mouth of the Neva River in 1611, in a then called Ingermanland. A small town called Nyen grew up around it, Peter the Great was interested in seafaring and maritime affairs, and he intended to have Russia gain a seaport in order to be able to trade with other maritime nations. He needed a better seaport than Arkhangelsk, which was on the White Sea to the north, on May 1703121703, during the Great Northern War, Peter the Great captured Nyenskans, and soon replaced the fortress. On May 271703, closer to the estuary 5 km inland from the gulf), on Zayachy Island, he laid down the Peter and Paul Fortress, which became the first brick and stone building of the new city. The city was built by conscripted peasants from all over Russia, tens of thousands of serfs died building the city. Later, the city became the centre of the Saint Petersburg Governorate, Peter moved the capital from Moscow to Saint Petersburg in 1712,9 years before the Treaty of Nystad of 1721 ended the war, he referred to Saint Petersburg as the capital as early as 1704. During its first few years, the city developed around Trinity Square on the bank of the Neva, near the Peter. However, Saint Petersburg soon started to be built out according to a plan, by 1716 the Swiss Italian Domenico Trezzini had elaborated a project whereby the city centre would be located on Vasilyevsky Island and shaped by a rectangular grid of canals. The project was not completed, but is evident in the layout of the streets, in 1716, Peter the Great appointed French Jean-Baptiste Alexandre Le Blond as the chief architect of Saint Petersburg. In 1724 the Academy of Sciences, University and Academic Gymnasium were established in Saint Petersburg by Peter the Great, in 1725, Peter died at the age of fifty-two. His endeavours to modernize Russia had met opposition from the Russian nobility—resulting in several attempts on his life

3. Триптих – A triptych is a work of art that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works, the middle panel is typically the largest and it is flanked by two smaller related works, although there are triptychs of equal-sized panels. The form can also be used for pendant jewelry, despite its connection to an art format, the term is sometimes used more generally to connote anything with three parts, particularly if they are integrated into a single unit. The triptych form arises from early Christian art, and was a standard format for altar paintings from the Middle Ages onwards. Its geographical range was from the eastern Byzantine churches to the Celtic churches in the west, renaissance painters such as Hans Memling and Hieronymus Bosch used the form. Triptych forms also allow ease of transport, from the Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form. One such cathedral with an altarpiece triptych is Llandaff Cathedral, the Cathedral of Our Lady in Antwerp, Belgium, contains two examples by Rubens, and Notre Dame de Paris is another example of the use of triptych in architecture. One can also see the form echoed by the structure of many stained glass windows. Although strongly identified as a form, triptychs outside that context have been created, some of the best-known examples being works by Hieronymus Bosch, Max Beckmann. The then highest price paid for an artwork at auction was $142.4 million for a 1969 triptych, Three Studies of Lucian Freud. The record was broken in May 2015 by $179.4 million for Pablo Picassos 1955 painting Les Femmes d’Alger, the format has migrated and been used in other religions, including Islam and Buddhism. Likewise, Tibetan Buddhists have used it in traditional altars, a photographic triptych is a common style used in modern commercial artwork. The photographs are arranged with a plain border between them. The work may consist of images that are variants on a theme

4. Советское изобразительное искусство – Soviet art is the visual art that was produced in the Soviet Union. During the Russian Revolution a movement was initiated to put all arts to service of the dictatorship of the proletariat, the instrument for this was created just days before the October Revolution, known as Proletkult, an abbreviation for Proletarskie kulturno-prosvetitelnye organizatsii. A prominent theorist of this movement was Aleksandr Bogdanov, initially Narkompros, which was also in charge of the arts, supported Proletkult. The ideas of Proletkult attracted the interests of Russian avantgarde, who strived to get rid of the conventions of bourgeois art, among notable persons of this movement was Kazimir Malevich. However the ideas of the avantgarde eventually clashed with the newly emerged state-sponsored direction of Socialist Realism, among early experiments of Proletkult was pragmatic aesthetic of industrial art, the prominent theoretist being Boris Arvatov. Another group was UNOVIS, a very short-lived but influential collection of artists led by Kasimir Malevich in the 1920s. Officially approved art was required to follow the doctrine of Socialist Realism, accordingly, the Moscow and Leningrad Union of Artists was established on August 1932, which brought the history of post-revolutionary art to a close. The epoch of Soviet art began, the best known Soviet artists were Isaak Brodsky, Alexander Samokhvalov, Boris Ioganson, Aleksandr Deyneka, Aleksandr Laktionov, Yuri Neprintsev and other painters from Moscow and Leningrad School. Moscow artist Aleksandr Gerasimov during his career produced a number of heroic paintings of Joseph Stalin. Nikita Khrushchev later alleged that Kliment Voroshilov spent more time posing in Gerasimovs studio than he did attending to his duties in the Peoples Commissariat of Defense, Gerasimovs painting shows a mastery of classical representational techniques. However, art exhibitions of 1935–1960 disprove the claims that life of the period was suppressed by the ideology. A great number of landscapes, portraits, genre paintings and studies exhibited at the time pursued purely technical purposes and were free from any ideology. Thematic painting was also approached in a similar way, in the post-war period between the mid-1950s and 1960s, the Leningrad school was approaching its apex. Artists who had graduated from the Academy in the 1930s–50s were in their prime and they were quick to present their art, they strived for experiments and were eager to appropriate a lot and to learn even more. Art of this period showed extraordinary taste for life and creative work, in 1957, the first all-Russian Congress of Soviet artists took place in Moscow. In 1960, the all-Russian Union of Artists was organized, accordingly, these events influenced the art life in Moscow, Leningrad and province. The scope of experimentation was broadened, in particular, this concerned the form and painterly, heroes of the time – young scientists, workers, civil engineers, physicians – become the most popular heroes of paintings. At this period, life provided artists with plenty of thrilling topics, legacy of many great artists and art movements became available for study and public discussions again

5. Корин, Павел Дмитриевич – Pavel Dmitriyevich Korin was a Russian painter and art restorer. He is famous for his work for the unimplemented painting Farewell to Rus. Pavel Korin was born in the village of Palekh to a family of a professional icon-painter Dmitry Nikolayevich Korin, in 1897, when Pavel was only five years old, his father died. In 1903-1907, he studied at the School for Icon Painting at Palekh getting a formal certificate as a professional icon-painter, in 1908, he moved to Moscow and until 1911 worked there at the icon shop of the Don Monastery. In 1911, he worked as an apprentice to Mikhail Nesterov on frescoes of The Intercession Church at the Convent of Martha, Nesterov insisted that Korin gain a formal education in easel painting and arranged his admission to the Moscow School of Painting, Sculpture and Architecture in 1912. Pavel graduated from school in 1916, having been a student of Konstantin Korovin. In 1916, he worked on frescoes for the mausoleum of Grand Duchess Elizabeth Fyodorovna at The Intercession Church at the Convent of Martha, in accordance with the wishes of the Grand Duchess, he traveled to Yaroslavl and Rostov to study traditional frescoes of antique Russian churches. In February 1917, he started to work in his studio on Arbat Street in Moscow. In 1918-1919, he taught at the 2nd State Art Studios, in 1919-1920 he worked at the Anatomic theatre of Moscow State University, as he thought that, as a painter, he needed deeper knowledge of the human anatomy. In the evenings he copied paintings and sculptures of the Museum of Fine Arts, in 1923, he traveled over Northern Russia, visiting Vologda, Staraya Ladoga, Ferapontov Monastery, and Novgorod. In 1926-1931, he worked as an instructor of painting classes for beginners at the Museum of Fine Arts, in 1926, the Convent of Martha and Mary was closed by the Soviets and all the art there was to be destroyed. Pavel and his brother Alexander managed to out and save the iconostasis. On March 7 of that year he married Praskovya Tikhonovna Petrova, in 1927, Korins aquarelle Artists studio and his oil landscape My Motherland were bought by the Tretyakov gallery, showing recognition from the Soviets. In 1931, Korins studio was visited by Maxim Gorky, who supported Korin since, in 1932, Korin followed Gorky to Sorrento, painted Gorkys portrait, and visited Italy and Germany. In 1931, Korin started to work as the Head of the Restoration Shop of Museum of the Foreign Art and he held this position for until 1959. After this he held the position of the Director of the State Central Art Restoration Works until his death, as one of the most senior Russian restorers of the time he contributed enormously to the saving and restoration of famous paintings. In 1933, Korin moved to the studio on Malaya Pirogovka Street in Moscow where he worked until his death, now the building is Korins museum. In the 1940s, he painted portraits of members of the Soviet intelligentsia

6. Октябрьская революция – It took place with an armed insurrection in Petrograd on 25 October 1917. During this time, urban workers began to organize into councils wherein revolutionaries criticized the provisional government and this immediately initiated the establishment of the Russian Socialist Federative Soviet Republic, the worlds first self-proclaimed socialist state. The revolution was led by the Bolsheviks, who used their influence in the Petrograd Soviet to organize the armed forces, Bolshevik Red Guards forces under the Military Revolutionary Committee began the takeover of government buildings on 24 October 1917. The following day, the Winter Palace, was captured, the long-awaited Constituent Assembly elections were held on 12 November 1917. The Bolsheviks only won 175 seats in the 715-seat legislative body, coming in second behind the Socialist Revolutionary party, the Constituent Assembly was to first meet on 28 November 1917, but its convocation was delayed until 5 January 1918 by the Bolsheviks. On its first and only day in session, the body rejected Soviet decrees on peace and land, as the revolution was not universally recognized, there followed the struggles of the Russian Civil War and the creation of the Soviet Union in 1922. At first, the event was referred to as the October coup or the Uprising of 25th, in Russian, however, переворот has a similar meaning to revolution and also means upheaval or overturn, so coup is not necessarily the correct translation. With time, the term October Revolution came into use and it is also known as the November Revolution having occurred in November according to the Gregorian Calendar. The Great October Socialist Revolution was the name for the October Revolution in the Soviet Union after the 10th anniversary of the Revolution in 1927. The February Revolution had toppled Tsar Nicolas II of Russia, however, the provisional government was weak and riven by internal dissension. It continued to wage World War I, which became increasingly unpopular, a nationwide crisis developed in Russia, affecting social, economic, and political relations. Disorder in industry and transport had intensified, and difficulties in obtaining provisions had increased, gross industrial production in 1917 had decreased by over 36% from what it had been in 1914. In the autumn, as much as 50% of all enterprises were closed down in the Urals, the Donbas, at the same time, the cost of living increased sharply. Real wages fell about 50% from what they had been in 1913, russias national debt in October 1917 had risen to 50 billion rubles. Of this, debts to foreign governments constituted more than 11 billion rubles, the country faced the threat of financial bankruptcy. In these months alone, more than a million took part in strikes. Workers established control over production and distribution in many factories and plants in a social revolution, by October 1917, there had been over 4,000 peasant uprisings against landowners. When the Provisional Government sent punitive detachments, it only enraged the peasants

7. Гомер – Homer is the name ascribed by the ancient Greeks to the semi-legendary author of the Iliad and the Odyssey, two epic poems which are the central works of Greek literature. The Odyssey focuses on the home of Odysseus, king of Ithaca. Many accounts of Homers life circulated in classical antiquity, the most widespread being that he was a bard from Ionia. The modern scholarly consensus is that these traditions do not have any historical value, the Homeric question - by whom, when, where and under what circumstances were the Iliad and Odyssey composed - continues to be debated. Broadly speaking, modern scholarly opinion on the authorship question falls into two camps, one group holds that most of the Iliad and the Odyssey is the work of a single poet of genius. The other considers the Homeric poems to be the crystallization of a process of working and re-working by many contributors and it is generally accepted that the poems were composed at some point around the late eighth or early seventh century B. C. Most researchers believe that the poems were transmitted orally. The Homeric epics were the greatest influence on ancient Greek culture and education, to Plato, the chronological period of Homer depends on the meaning to be assigned to the word Homer. Was Homer a single person, an imaginary person representing a group of poets and this information is often called the world of Homer. The Homeric period would in that cover a number of historical periods, especially the Mycenaean Age. Considered word-for-word, the texts as we know them are the product of the scholars of the last three centuries. Each edition of the Iliad or Odyssey is a different, as the editors rely on different manuscripts and fragments. The term accuracy reveals a belief in an original uniform text. The manuscripts of the work currently available date to no earlier than the 10th century. These are at the end of a missing thousand-year chain of copies made as each generation of manuscripts disintegrated or were lost or destroyed and these numerous manuscripts are so similar that a single original can be postulated. The time gap in the chain is bridged by the scholia, or notes, on the existing manuscripts, librarian of the Library of Alexandria, he had noticed a wide divergence in the works attributed to Homer, and was trying to restore a more authentic copy. He had collected several manuscripts, which he named, the Sinopic, the one he selected for correction was the koine, which Murray translates as the Vulgate. Aristarchus was known for his selection of material

8. Интернационал (гимн) – The Internationale is a left-wing anthem. It has been a standard of the socialist movement since the nineteenth century. The title arises from the First International, an alliance of workers which held a congress in 1864, the author of the anthems lyrics, Eugène Pottier, attended this congress. The original French refrain of the song is Cest la lutte finale / Groupons-nous et demain / LInternationale / Sera le genre humain, the Internationale has been translated into many languages. The Internationale has been celebrated by communists, socialists, anarchists, democratic socialists and it was also used by Republicans during the Spanish Civil War. The original French words were written in June 1871 by Eugène Pottier and were intended to be sung to the tune of La Marseillaise. Pierre De Geyter set the poem to music in 1888 and his melody was first publicly performed in July 1888 and became widely used soon after. In a successful attempt to save Pierre De Geyters job as a woodcarver, in 1904, Pierres brother Adolphe was induced by the Lille mayor Gustave Delory to claim copyright, so that the income of the song would continue to go to Delorys French Socialist Party. In 1972 Montana Edition owned by Hans R. Beierlein bought the rights for 5,000 Deutschmark, first for the territory of the West Germany, then East Germany, East Germany paid 20,000 DM every year for playing the music. Pierre De Geyter died in 1932, which means the copyright expired 2002, the German text Luckhards is public domain since 1984. As the Internationale music was published before 1 July 1909 outside the United States of America, as of 2013, Pierre De Geyters music is also in the public domain in countries and areas whose copyright durations are authors lifetime plus 80 years or less. Due to Frances wartime copyright extensions, SACEM claims that the music was copyrighted in France until October 2014. As Eugène Pottier died in 1887, his original French lyrics are in the public domain, Gustave Delory once acquired the copyright of his lyrics through the songwriter G B Clement having bought it from Pottiers widow. The German version, Die Internationale, was used by East German anti-Stalinists in 1953, luckhardts version, the standard German translation, of the final line of the chorus tellingly reads, Die Internationale erkämpft das Menschenrecht. It was coupled with the chant, Volkspolizei, steh dem Volke bei The Internationale in Chinese, versions of the song in Indian languages, particularly Bengali and Malayalam, have existed since the time of colonial rule. It was translated into Bengali by the radical poet Kazi Nazrul Islam, the Assamese version was translated by the poet Bishnu Rabha. In the 1980s, more translations appeared, translations by Sachidanandan and Mokeri Ramachandran were sung by the activists of Janakeeya Samskarikavedi, an organisation connected with CPI (CPI. Translation by N. P. Chandrasekharan was for Students Federation of India, the student organisation associated with CPI (CPI and published in the Student Monthly, the organ of SFI

9. Революция 1917 года в России – The Russian Revolution was a pair of revolutions in Russia in 1917, which dismantled the Tsarist autocracy and led to the eventual rise of the Soviet Union. The Russian Empire collapsed with the abdication of Emperor Nicholas II, in the second revolution that October, the Provisional Government was removed and replaced with a communist state. The February Revolution was a revolution focused around Petrograd, then capital of Russia, in the chaos, members of the Imperial parliament assumed control of the country, forming the Russian Provisional Government. The army leadership felt they did not have the means to suppress the revolution, the February Revolution took place in the context of heavy military setbacks during the First World War, which left much of the Russian Army in a state of mutiny. During this chaotic period there were frequent mutinies, protests and many strikes, when the Provisional Government chose to continue fighting the war with Germany, the Bolsheviks and other socialist factions campaigned for stopping the conflict. The Bolsheviks turned workers militias under their control into the Red Guards over which they exerted substantial control, the Bolsheviks appointed themselves as leaders of various government ministries and seized control of the countryside, establishing the Cheka to quash dissent. To end Russia’s participation in the First World War, the Bolshevik leaders signed the Treaty of Brest-Litovsk with Germany in March 1918, soon after, civil war erupted among the Reds, the Whites, the independence movements and the non-Bolshevik socialists. It continued for years, during which the Bolsheviks defeated both the Whites and all rival socialists. In this way, the Revolution paved the way for the creation of the Union of Soviet Socialist Republics in 1922, the Russian Revolution of 1905 was said to be a major factor to the February Revolutions of 1917. The events of Bloody Sunday triggered a line of protests, a council of workers called the St. Petersburg Soviet was created in all this chaos, and the beginning of a communist political protest had begun. World War I prompted a Russian outcry directed at Tsar Nicholas II and it was another major factor contributing to the retaliation of the Russian Communists against their royal opponents. However, the problems were merely administrative, and not industrial as Germany was producing great amounts of munitions whilst constantly fighting on two major battlefronts, the war also developed a weariness in the city, owing to a lack of food in response to the disruption of agriculture. Food scarcity had become a problem in Russia, but the cause of this did not lie in any failure of the harvests. As a result, they tended to hoard their grain and to revert to subsistence farming, thus the cities were constantly short of food. At the same time rising prices led to demands for wages in the factories. The outcome of all this, however, was a criticism of the government rather than any war-weariness. The original fever of excitement, which had caused the name of St. Heavy losses during the war also strengthened thoughts that Tsar Nicholas II was unfit to rule, the Liberals were now better placed to voice their complaints, since they were participating more fully through a variety of voluntary organizations

10. Гражданская война в России – The Russian Civil War was a multi-party war in the former Russian Empire immediately after the Russian Revolutions of 1917, as many factions vied to determine Russias political future. In addition, rival militant socialists and nonideological Green armies fought against both the Bolsheviks and the Whites, eight foreign nations intervened against the Red Army, notably the Allied Forces and the pro-German armies. The Red Army defeated the White Armed Forces of South Russia in Ukraine, the remains of the White forces commanded by Pyotr Nikolayevich Wrangel were beaten in Crimea and evacuated in late 1920. Lesser battles of the war continued on the periphery for two years, and minor skirmishes with the remnants of the White forces in the Far East continued well into 1923. Armed national resistance in Central Asia was not completely crushed until 1934, there were an estimated 7,000, 000–12,000,000 casualties during the war, mostly civilians. The Russian Civil War has been described by some as the greatest national catastrophe that Europe had yet seen, many pro-independence movements emerged after the break-up of the Russian Empire and fought in the war. Several parts of the former Russian Empire—Finland, Estonia, Latvia, Lithuania, the rest of the former Russian Empire was consolidated into the Soviet Union shortly afterwards. After the abdication of Tsar Nicholas II of Russia, the Russian Provisional Government was established during the February Revolution of 1917, Political commissars were appointed to each unit of the army to maintain morale and ensure loyalty. In June 1918, when it became apparent that an army composed solely of workers would be far too small. Former Tsarist officers were utilized as military specialists, sometimes their families were taken hostage in order to ensure their loyalty, at the start of the war three-quarters of the Red Army officer corps was composed of former Tsarist officers. By its end, 83% of all Red Army divisional and corps commanders were ex-Tsarist soldiers, a Ukrainian nationalist movement was active in Ukraine during the war. More significant was the emergence of an anarchist political and military movement known as the Revolutionary Insurrectionary Army of Ukraine or the Anarchist Black Army led by Nestor Makhno, some of the military forces were set up on the basis of clandestine officers organizations in the cities. The Czechoslovak Legions had been part of the Russian army and numbered around 30,000 troops by October 1917 and they had an agreement with the new Bolshevik government to be evacuated from the Eastern Front via the port of Vladivostok to France. The transport from the Eastern Front to Vladivostok slowed down in the chaos, under pressure from the Central Powers, Trotsky ordered the disarming and arrest of the legionaries, which created tensions with the Bolsheviks. The Western Allies armed and supported opponents of the Bolsheviks, hence, many of these countries expressed their support for the Whites, including the provision of troops and supplies. Winston Churchill declared that Bolshevism must be strangled in its cradle, the British and French had supported Russia during World War I on a massive scale with war materials. After the treaty, it looked like much of material would fall into the hands of the Germans. Under this pretext began allied intervention in the Russian Civil War with the United Kingdom, there were violent clashes with troops loyal to the Bolsheviks

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Поднимающий знамя — Википедия

Поднимающий знамя — центральная картина из триптиха «Коммунисты» Гелия Коржева.

Картина принесла известность художнику и стала его своеобразной визитной карточкой.[1][2]

Полотно «Поднимающий знамя»[править | править код]

— Анна Дьяконицына, научный сотрудник Государственной Третьяковской Галереи[4]

— доктор философских наук, профессор кафедры культурологии Ледовских Н.П[7]

Басыров А. Я. — История создания одного произведения. Г. М. Коржев. Триптих «Коммунисты». — Л.: Художник РСФСР, 1988.
Raising the Banner: The Art of Geli Korzhev / The Museum of Russian Art. — Minneapolis, Minnesota 55419, USA: The Museum of Russian Art // September 10, 2007 — January 5, 2008.// — P. 144

↑ Эта композиция дала название персональной выставке Г. М. Коржева, показанной в Музее русского искусства в Миннеаполисе в 2007—2008 годах.
↑ Анна Дьяконицына — Гелий Коржев: имею право, Журнал «Третьяковская галерея» № 3(52) за 2016 год
↑ Статья «ПОЛИПТИХ, ТРИПТИХ» // Энциклопедический словарь юного художника Автор: Составители Н. И. Платонова, В. Д. Синюков Издательство: Педагогика Год издания: 1983 Страниц: 416
↑ 1 2 Анна Дьяконицына - Гелий Коржев: имею право, Журнал «Третьяковская галерея» №3(52) за 2016 год
↑ 1 2 3 4 5 6 7 Орлова М. А. — Историко-революционная тема в советском изобразительном искусстве — Москва: Искусство, 1964 — 46 с.
↑ 1 2 3 Г. М. Коржев. Поднимающий знамя. Центральная часть триптиха «Коммунисты» // Колпинский Юрий — Всеобщая история искусств в шести томах. Том 6. Книга 2 (с иллюстрациями), 1965—127 с.
↑ 1 2 3 4 Ледовских Н.П., доктор философских наук, профессор кафедры культурологии - Поднимающий знамя, 2008
↑ Turchin V. The Art of Geli Korzhev // Raising the Banner. P. 42-52.
↑ Marianne Combs — Socialist art finds life after socialism, Minnesota Public Radio News, Nov 11, 2007 (источник на английском языке)

Ледовских Н. П., доктор философских наук, профессор кафедры культурологии — Поднимающий знамя, 2008
Велимир Мойст — Певец шока и трепета, Газета.ру, 28 августа 2012
Г. О. — Поднимающий знамя, Журнал «Пропаганда», 27 сентября 2012
Екатерина Кинякина — Гелий Коржев «Поднимающий знамя», 1957—1960, 10 неизвестных: Библия, Ленин и монстры Гелия Коржева, Сетевое издание «Москва 24», 4 апреля 2016
Анна Дьяконицына — Гелий Коржев: имею право, Журнал «Третьяковская галерея» № 3(52) за 2016 год

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