The ideology of the "right-wing threat" in Soviet Art of the turn of the 1920–1930s

The object of the study is the Soviet practice of transferring the ideology of the "right-wing threat", widely spread at the turn of the 1920s–1930s, into the space of fine art. This concept, which arose thanks to Stalin's purposeful efforts, was his effective weapon in the fight against the opposition. It was assumed that its existence would be limited by the factional struggle in the CPSU(b). However, the logic of public life in the country has made it inevitable that a purely political ideologeme will be transferred to all areas of culture. Based on the material of art magazines, newspapers, yearbooks published from 1929 to 1932, the chronology, main stages and features of the adaptation of the ideologeme in relation to fine art are considered for the first time. It is shown that accusations of belonging to the "right opposition", "right deviation" were made not only to creative associations or to individual artists, but also in relation to genres of fine art (for example, to still life and landscape). Manifestations of bourgeoisness were found both in the content of the works and in their form. It is revealed that the initial publications contained sincere attempts to understand what the "right threat" in art is, how its manifestations in this area can be determined. However, very soon such attempts were almost completely abandoned, and the phrase "right-wing threat" turned into a formal cliche, a political label.

ideologeme, culture, art, painting, artist, magazine, accusation, Stalin, genre, criticism