Series of works "Fascist flying away", plexiglass, oil, 2012

"Фашист пролетел", плексиглас, масло,120х100 см., 2012, автор Потапов Владимир

"Fascist flying away", plexiglass, oil, 120x100 cm., 2012

"Мальчик", плексиглас, масло,120х100 см., 2012, автор Потапов Владимир

"Boy", plexiglass, oil, 120x100 cm., 2012

"Преобразование", плексиглас, масло,120х100 см., 2012, автор Потапов Владимир

"Transformation", plexiglass, oil, 120x100 cm., 2012

"Мы - Они", плексиглас, масло,120х100 см., 2012, автор Потапов Владимир

"We - They" plexiglass, oil, 120x100 cm., 2012

"Beuys is alive", плексиглас, масло,120х100 см., 2012, автор Потапов Владимир

"Beuys is alive", plexiglass, oil, 120x100 cm., 2012

"Feuerbereit!", плексиглас, масло,120х100 см., 2012, автор Потапов Владимир

"Feuerbereit!", Plexiglass, oil, 120x100 cm., 2012


Fascist flying away


Autumn. Slope. Young slender birches in gold jewelry. Deep peace of a beautiful autumn day. Do not stir, no blade of grass. Sharp cut through the silence howling dogs. Lost sheep roam. What is it?

Fell down her cheek to dry prickly grass shepherd boy. Fell awkwardly. Hand twisted. Whip and hat flew away. Red blood on the blond vortex. Firmly pressed against his native land kid. Do not stand up to him.

Far, far away in the clear sky above the emerald green of Nazi aircraft. A moment ago lead downpour stopped life. Against the background of a peaceful native wildlife especially heinous and cruel fascists looks perfect crime. Layers are not accidentally took autumn motif that his sad beauty figuratively emphasizes the tragic death of a shepherdess. Slope hillside artist painted like a precious, shimmering warm tones of the carpet. Gold young birch trees here and there flashing red spots autumn foliage, green velvet winter wheat - all this is perceived as a beautiful musical accompaniment to the sad, gentle, lyrical song, full of deep inner tragedy.

Several muted colors, built on a light-korichnevatyhi yellowish colors, fading light of day, correspond to the dramatic plot, help convey the mood. This picture can not be forgotten. It sounded like alarm, calling for the struggle, the destruction of the enemy, increasing hatred of him.

Sources: Dolgopolov IV, "Masters: short stories about the artists" ("Military Publishing House" 1981)

There are in the Tretyakov Gallery is one picture that a child produced indelible impression on me. This picture is called "Fascist flying" and was painted by the famous Soviet artist Arcadia Plastov. It is unlikely that this work can be called outstanding in terms of the actual painting. But the choice of motifs, the inner drama and strange composition of its output beyond the infinite number of Soviet propaganda films. There is a legend according to which, the web Plastov made such a strong impression on Roosevelt and Churchill that they immediately decided to open a second front. Thus, it is fair to call the film "Fascist flying" a special kind of cultural weapons.

But we are interested in it more. Considering the picture in the context of contemporary postmodern culture, inevitably pose the question - who is in a deadly plane, barely visible through the haze on the horizon. Clearly, this pilot. Of course he was a German. And what? If we think of a "fascist" is not in the context of socialist realism mid-twentieth century, but in terms of contemporary art, the answer is obvious: a German, flying a military aircraft over the vast expanses of Russia is ... Joseph Beuys.

What causes us to make such an assumption? History of art!

Post-war art is fierce competition between the two systems, not only communism and capitalism, but of realism and modernism.

Layers, of course, one of the iconic figures of socialist realism, revered not only under Stalin, but also in the later leaders. German pilots bombed the Soviet Union, has become in the future a great artist Josef Beuys almost a symbol of all the modernist project. Violent clashes between the two systems, two great projects historically ended in defeat "evil empire" and, therefore, realistic art. Boyce "killed" Plastov. But is not the symbol of this confrontation we see in the picture Arkady. If we can not conceive of his masterpiece as foresight historical inevitability. And is the painting itself does not give us povol assume it.

Composition of the painting is that we understand, we have not just an episode of the war, but not just propaganda rhetoric, or rather a piece of propaganda is present here, but it would be coded as in the deep layers of the pictorial language. Boy, nature and herd occupying nine-tenths of the picture is exactly stamps realistic art, which was based on Rousseau's myth of the unity of man and nature. Opposite the plane disappearing in the haze of the horizon, is a new world - the world of technology, the world of machines and the world ... modernism. Thus, the plane killing shepherdess, it is both modernism, amazing realistic art which rested upon the nature and humanistic pathos.


But there is another snail, which makes us see in the picture "Fascist flying" is more than an anti-war poster. As you know, one of the most famous disciples Beuys was Anselm Kiefer - the famous German painter.

Many years later, after I - a child was struck by a picture Plastov, I found myself in the Munich Pinakothek, where my eyes appeared canvas "Nuremberg" Kiefer. (Later I learned that there are a number of variations of Kiefer this picture). Work, something painfully reminded me. And suddenly, I realize that. Well, of course! It was the same "Fascist flying". The same song, the same muted palette, the same angle and the same arable land. There was not a shepherdess, it is clear that his remains have long decayed, there was, of course, and the herd with a dog. Somewhere gone birch. They evidently cut down. But everything else remains unchanged.

Is this accidental. Is it a coincidence that the main fabric of the Soviet realist who knew nothing of Boise, but intuitively placed the great German in the right corner of the picture, eventually manifested itself in the picture of another German - student Beuys.

So maybe in the language of painting hiding something that manifests itself without the will of the authors, emerges in the paintings of the great masters, reflecting not the fleeting events that have become subjects of these paintings, and the deep tectonic shifts that are taking place in our minds.

Bogdan Mamonov