Cookies

We use cookies to ensure that we give you the best experience on our website. By continuing to browse this repository, you give consent for essential cookies to be used. You can read more about our Privacy and Cookie Policy.


Durham Research Online
You are in:

Still life and the vanity of socialist realism : Robert Fal'k's potatoes, 1955.

Reid, Susan E. (2017) 'Still life and the vanity of socialist realism : Robert Fal'k's potatoes, 1955.', Russian review., 76 (3). pp. 408-437.

Abstract

Still life occupied a position in the Socialist Realist canon so marginal that it could barely be called Socialist Realism at all. Although some artists attempted, in the Stalin era, to prove the genre's credentials at least as a component of Socialist Realist visual culture, a number of its genre characteristics rendered it ill‐suited and even antithetical to the mandatory tasks of “depicting reality in its revolutionary development” and demonstrating the role of the party‐state and its leaders in achieving the radiant future. The paper focuses on the work of Robert Fal'k (1886–1958), an artist multiply marginalized in the Soviet art establishment–both as a person and through his work in the lowly, liminal genre of still life–yet nevertheless central to the story of Soviet art. It examines, from different perspectives, the quiet challenge his work seemed to present both to the vainglory of Soviet power and the chiliasm of Socialist Realism. In his Potatoes (1955) the genre characteristics of still life which placed it in the basement of Soviet public culture are so hypertrophied as to become a kind of unspoken worm's eye critique of Socialist Realism and the faith in state‐led progress that it represented. It argues that, in the context of destalinization, when the modernist assertion of autonomy of art and artist presented a perceived challenge to party control over the arts, Fal'k's work alluded to the absence of the state and its powerlessness when faced with the ultimate projects of existence and of painting. Turning the tables on the Soviet state authorities that had marginalized it, his still life marginalized the state as irrelevant to art and life.

Item Type:Article
Full text:(VoR) Version of Record
Available under License - Creative Commons Attribution.
Download PDF
(2033Kb)
Status:Peer-reviewed
Publisher Web site:https://doi.org/10.1111/russ.12137
Publisher statement:© 2017 Loughborough University. The Russian Review published by Wiley Periodicals Inc. on behalf of The Russian Review. This is an open‐access article under the terms of the Creative Commons Attribution License, which permits use, distribution, and reproduction in any medium, provided the original work is properly cited.
Date accepted:No date available
Date deposited:10 March 2020
Date of first online publication:02 June 2017
Date first made open access:10 March 2020

Save or Share this output

Export:
Export
Look up in GoogleScholar