A Grand Epoch of Painting
Mid 20th Century Russian Realism
By John H Wurdeman IV
“Overcast Day” Yuri Kugach (1917 - 1913) 21 x 27 Oil on Panel 1970
Why does mid 20th century Russian Realism consummate such a brilliant period in world art
history? First, it was the only place left in the world where a living school of traditional realism
was being passed down from master to student. Indeed, this treasure of knowledge survived
into and throughout the 20th Century. Other cultures, including Western Europe and North
America, which had embraced abstract and conceptual art, full heartedly early on, found an interest in realism reawakening in the 80’s. However, with few if any living masters remaining, ateliers were formed. Painters worked diligently, trying to resurrect this living knowledge by working
from museum copies and books, but lack of living masters compromised this process. What
immensely impressed western art lovers in the 1990’s, when mid 20th century Russian Realism
started to be exhibited outside of Russia, was how alive the paintings were. There was a mixture
of academic draftsmanship resembling the 18th and 19th century European Academy in symbiosis with the freedom of brush stroke, study of light and color from the impressionists and more
modern art movements, all of which blended with a local aesthetic that was raw, and even perhaps reminiscent of the bold spirituality of Russia’s own icon and fresco traditions.
In the mid 20th century, adhering to realism was more revolutionary than following the trends
of contemporary art. Time and time again, collectors and even art critics have intently followed
what they are told they should by “insiders”. However, the rare visionary has an eye for seeing
through the trends of the day. Such visionaries, with their elevated insights and ability to recognize superior quality, are the collectors such as Paul Durand-Ruel, Saava Momontov, and Pavel
Tretyakov who go down in the pages of art history. Historically, when the filter of time is applied,
real, genuine, and quality art of universal recognition emerges. Art, which was exceptional for its
epoch is what is remembered, not works by artists that followed the trends and the cynicism of
the naysayers.
“Samarkand” Sergei Gerasimov (1885 - 1964) 11 x 14 Oil on Panel 1943
For the last few decades in Russia as well as amongst affluent Russians abroad, there has
been a race to buy works from the “hot” 19th C and early 20th century realist artists, including
Korovin, Aivazovsky, and Repin. Although these masters are indeed great and deserve all the
received praise, in reality, there are very few key pieces now available on the market by these
artists. New collections are often being founded with mostly second tier works by first tier 19th
century artists. Here, for the most part, the cream was skimmed off the top of the milk some
decades ago.
Art critics both inside and a few outside of Russia have championed two other periods of
20th century Russian art. The “Non-conformist” whom have a romantic aura due to the perceived victimization by the Soviet State. However, outside of Russia, few foreign scholars or collectors see the significance of this movement because it seems to parallel and mimic trends as
they developed in the West without surpassing or adding much to them. In reality, various Soviet
leaders championed different types of art. Under Lenin, it was the realists who were seen to be
to connected to the Tsar’s Russia and were repressed, while Malevich and primitive artists like
Larinov and Goncharova were mainstream. Secondly, Social Realism, which was, for all the skill
that went into some of the works, an instrument of the state, direct propaganda, and not born of
a deep and sincere part of the artist’s creative soul. Often these were state commissions that the
artists executed simply to survive. The works, which they painted from the heart, were apolitical.
“Birches” Olga Svetlechnaya (1915 - 1997) 18 x 24 Oil on Linen 1992
There are renowned Russian artists from the 20th century such as Kandinsky, and Marc
Chagall that were undeniably talented artists. They however have more in common with Western
art movements than something unique and special to Russian schools and therefore are not
dealt with in this study. In contrast, a handful of talented Russian realists including Feshin immigrated to the west. Their paintings sell sometimes at higher prices not necessarily because of
superior quality but instead because a large body of their works gained momentum being in a
culture that could promote them for many decades in a free market. In contrast, their colleague’s
paintings in the Motherland remained behind the iron curtain.
The sleeping treasure is the cache of paintings of the 20th realists who never left Russia.
These works were most celebrated within the confines of the Russian culture, by peers that understood the art better than anyone else. Only in the last 15 to 20 years have these paintings
been exhibited outside their Motherland and therefore appreciation has not reached maturation.
What many collectors have found in the Moscow School of Realism is unique, simple subjects including life in its myriad of everyday scenes, transformed into passionate paintings with
technical audacity and depth of feeling and meaning. These are the landscapes, people, and objects that the artists loved. The works were universal, apolitical and painted because the artists
wanted to, not because there was a state commission. These were the paintings made from the
heart.
“Wooden Homes” Gennady Korolev (1913 - 1995) 11 x 15 Oil on linen on Panel 1951
“Northern Summer” Nikita Fesosov (1939 - 1992) 15 5/8 x 19 1/5 Oil on Panel
If we speak about Russian Impressionism, aside from works by a small number of early 20th
century artists, it was in fact the 40’s to 70’s that produced some of the most compelling impressionist works by S. Gerasimov, V. Tsyplakov, A. Plastov, A. Gritsai, G. Korolov, Y. Kugach, and
O. Svetlichnaya. This post World War II explosion of creativity was followed by a generation of
illustrious artists which would include Nikita Fedosov and Vyacheslav Zabelin, two artists who
devoted almost their entire life to the study of light in the landscape and its aesthetic, emotional
and spiritual impact. Their colleagues, art historians and contemporaries loved these artists in
their lifetime and they inspired awe when western audiences were first exposed to their paintings. These were the figures that gave the broadly painted works of the Moscow School of Realism its well earned place of admiration in 20th century art history. This period was truly unique
not only for Russia but within the entire scope of world art history. The finest paintings by Gritsai,
Zabelin and Fedosov can be hung in any museum hall amongst the Barbizon painters or Impressionists and they qualitatively will hold their own.
When the time ripens for 20th Century Russian Realism, not only will the works soar in value
but they will be very difficult to obtain. The prices for the most popular artists from this period
have already increased 10 fold in as many years but key works, unlike Russia’s 19th century
greats, can still be found on the world art market, albeit already with some difficulty as more museums and collectors recognize their importance. Foreign collectors removed fair amounts of the
best works from Russia at the end of the 20th century. Many of these artists enjoyed a fair
amount of popularity during their own lifetimes by collectors abroad, at home, and amongst museums throughout Russia. The most celebrated of the great 20th century Russian realists have
hundreds of fine works in museums throughout the world. In addition, a few new museums are
starting to specialize in this period both within the USA and Russia.
“Old Park Gate” Vyacheslav Zabelin (1935 - 2001) 25 x 27 Oil on Linen 1992
The Tretyakov Art Gallery, Russian Museum, and national museums throughout Russia
have large amounts of realism from the 20th C in their collections that once hung in the permanent exhibition halls. About 10 years ago, the decision makers chose to show less and less 20th
Century realism. Consider the fact that at one time discerning art historians were championing
this period; it appears they were politically motivated to stop promoting 20th Century Russian
Realism. Instead of celebrating Russian Realism as qualitatively unique, they moved, to a great
extent toward displaying paintings that mirrored western contemporary art movements. With this
change, attendance in many museum halls of conceptual art and installations greatly diminished
whereas when realism was hanging in the same halls 20 years ago, the museums attracted vast
numbers of Russian and foreign art lovers. Likewise, fewer studios in the premier art institutes of
Russia rigorously support realism. Sadly, the current trend in Russia is to deny the importance of
national art traditions that are truly unique and instead champion artists that are reflections of
more generic modern art movements throughout the world.
A global expansion of interest in traditional arts, gives lovers of realism hope that Russian
works of the 20th C will soon be given the full acclaim and recognition they rightfully deserve.
Over the last 200 years, all significant art movements have had an analogous trajectory. First, a
10-year discovery period takes place. This first period is followed by 10 years of growing appreciation during which many studies are published and private and public acquisition and museum
activity increases. These two periods set the stage for a third period of very rapid appreciation
and a grabbing of the best works. This advancement historically is interrupted only by extreme
recession or war. The great 20th century Russian Realists will soon begin to enter the third 10
year period from the time they were first introduced to Western audiences.
Russia has been influenced by many cultures both East and West. Even though Russia’s literature of the late 19th century was an imported European form, it was brought to ripe perfection
by the pens of Lev Tolstoy, Fydor Dostoyevsky, Anton Chekhov, and other great writers. They
created a national legacy of literature, a true treasure, and a contribution to world culture, different than anywhere else before or after. The same trend applies to certain Russian composers,
performing classical musicians, and Russian ballet. The Russians have their own unique school
that offsets it from the currents of the world. Few modern countries can claim this accomplishment. As a parallel in painting, the great masters of The Moscow School of Realism in the mid
20th century created a powerful and prolific school, which was different from anything, that came
before or after it. This school conveyed traits in common with other significant periods of art, but
at the same time was distinctive, bearing all the attributes of a truly grand epoch of painting. This
unprecedented legacy and gift to the world of mid 20th Century Russian Realism is truly something Russia can and should be deeply proud of.