Reflection on the art of the Urals. The painting Chelyabinsk: the main tendencies for 100 years

Abstract

The article explains the history of twentieth century painting in the South Ural region, more precisely
in the center in Chelyabinsk. The development of this art form is seen in the semantic context
of the underlying ontological essence of Ural art. The author traces the relationship of fine art with
historical and cultural bases of the development of art, starting with Peter's time, and identifies the
painting as an art form, has a kernel value in the development of fine arts. Given the historical pattern
and stylistic evoluation of the monumental and easel painting in the past century in the center
of the Southern Urals until the beginning of the twenty-first century. The development of painting
revealed in connection with the forms of organization of creative work in the face of a professional
organization — the Chelyabinsk branch of the Union of artists of the USSR/Russia. Structural model
of the study of painting artists in Chelyabinsk is based on the coordinate axes: spatial, species and
temporal, within identified key personnel, analyzed their staged works of art. The article provides
an analytical review of monumental and easel painting capital of the Southern Urals and its masters
revealed figuratively-meaning, genre-specific identity features of the plastic language of painting
South Ural, which is a interesting and little known creative formation of the spiritual heritage of
recent history and modernity.