Soviet Impressionism

by Vern Grosvenor Swanson

Release Date: June, 2001

Edition: Hardcover

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Case of Mistaken Identity

It is hard to disagree that this book is well published and probably, along with Bown's Socialist Realist Painting, is the best book on the official Art in the Soviet Union. The quality of reproductions is superb. However, Swanson chooses to see the Socialis Realist Art as Impressionism, and under this newly changed name tag he begins the revisionist compaign ( as did Mr.Bown). What could possibly lead to such a switch in style's identities? It seems that this erroneous view is based on the fact that many of the sketches, landscape studies, and other works ,done from nature, by the Soviet artist do bear some stylistic affinity to the loose and airy impressionist technique. However, such affinity is due to the educational methods of the Soviet academies, where students worked with live models, worked outdoors, etc. Such practices , together with the influence of French and Russian Impressionists of the Nineteenth century, would definitely lead the artists to a more impressionistic portrayal of nature. But, as majority of the works reproduced in the book show, contrary to Mr. Swanson's thesis, Soviet Impressionism has NEVER existed in the form other than small percentage of the Soviet artists artistic output, and as such, it was motivated to be "impressionistic" more by the fact that people would rather buy something "pretty", like a landscape or a still life. Official commisions of oversized Communist compositions were only occasional for many artists, and "Impressionism" provided them with the Marketable Style on the side. This would classify the Soviet Impressionism more as the Soviet Opportunist Realism inside the Larger Socialist Realist Tradition. Soviet Impressionism/ Socialist Realism has never been interested in the portrayal of real world around, it was staging the reality, beautifying it and distorting it. As such it is not worthy of being "Impressionism", if one calls the art of Degas, Cezanne, and Manet the same name. In short the book is the sad example of great pictorial beauty and false revisionist doctrines.

Wonderful!

Not only are the photos fabulous, but the text is the most comprehensive and informative account yet of this powerful school of art. Vern Swanson is not afraid to tell it as he sees it. This book is so far the best one written on the subject of Russian Impressionism/Socialist Realism.