Oldal 434 [434]
OCR
432 Liudmila Limanskaya 1he Psychoanalytical Aspects of the Deconstruction of Images of Socialist Ideals of the 1930s—1950s in Russian Sots Art of the 1990s—2000s Building the image of the Other in Soviet art of the 1930s until 1953 was closely linked to the ideological milieu of that time. An understanding of art as a means of forming a new type of personality—a builder of communism—brought about a set of semiotic codes that determined the canon of visual representation of opposing images, materialising in the figures of friend vs. foe. When producing the image of the friend, artists were to glorify peasants and workers, who were the true builders and protectors of communist ideology. The set of visual and semiotic codes was orientated towards reflecting the three basic aesthetic principles of MarxismLeninism in art: the party spirit, commitment to the people, and specificity. The 1934 Charter of the Union of Writers in the USSR, reads, in part: “The Union of Soviet Writers sets the general goal of creating works of art of lofty artistic significance filled with the deeds of the heroic struggle of international proletariat and the pathos of the victory of socialism; and reflecting the great wisdom and heroism of the communist party” (Ihe First National Congress of Soviet Writers, 1934) (this and other translations by L. Limanskaya). Describing the work process of sculptor Nikolai Andreev on the image of Lenin, the well-known art critic of the Soviet era Vladislav Zimenko wrote in 1962: However, the largest and most productive work from the artistic and documentary point of view was N. Andreev’s great Leniniana. In May 1920, he was allowed to draw Lenin in his study in the Kremlin, where he produced numerous studies and a large number of sketches for sculptures. With great attention, carefully and thoughtfully, the sculptor studied Lenin’s appearance, his habitual gestures and manner to sit, speak and work, trying to capture all the details of the complex inner world of this great man. Numerous albums were quickly filled with both quick sketches and more complete drawings showing Lenin during various times of his intense workday. In one, he is attentively reading a document and in another, he is talking. The artist portrays his kind and, at the same time, keen glance. It is obvious that Lenin is talking to a friend, to a likeminded person. In another drawing, his expression is challenging and sharp. There are alternative studies of his eyes, nose and ear. Another common motif is
