3/18/2023 0 Comments Viktor popkov iconographer![]() ![]() The swarms move throughout the digital canvas in an attempt to satisfy their dynamic roles - attention to areas with more details - associated to them via their fitness function. produce a 'swarmic sketch' of the attended line. Once the attention of the swarm is drawn to a certain line within the canvas, the capability of another swarm intelligence algorithm - Particle Swarm Intelligence - is used to. This paper introduces a novel approach deploying the mechanism of 'attention' by adapting a swarm intelligence algorithm - Stochastic Diffusion Search - to selectively attend to detailed areas of a digital canvas. Consequently, at the All-Union Exhibition, visitors were presented with two very different visions of the Soviet Union’s foundational experiences, and at the root of this was the instability unleashed by Destalinization. This was in stark contrast to works displayed that dealt with the Great Patriotic War, which at last started to address the far more problematic and conflicting legacies of victory in 1945. This article demonstrates that while the general appeals for greater party spirit in art were highly influential in shaping how the Revolution and Civil War were presented thematically, the period was impervious to concurrent calls for artists to grapple with some of the more conflicted aspects of the human condition, leading to depictions of these events that were romantic and often sentimental in tone. Coming as it did just over a year after Nikita Khrushchev’s denunciation of Stalin, this hugely significant exhibition offers a unique lens through which to examine the dynamics of early Destalinization and the artistic conceptualization of the October Revolution in this new post-Stalinist landscape. On the basis of archival materials and press reviews, the article sheds light onto an artistic encounter between East and West in a divided Europe and discusses missed connections and unmet expectations of Western, mostly Italian, art critics.īetween 5 November 1957 and 16 March 1958, the new Central Exhibition Hall in Moscow (Manezh) hosted the All-Union Exhibition dedicated to the Great October Socialist Revolution. It also analyzes the reception of Popkov’s work both in Italy-the country with the largest communist party in the West-and in the international press. The present article explores the genesis of the canvas as the expression of a new “severe romanticism,” against the backdrop of the ongoing debate about romanticism in Soviet culture. Along with the drawings and sketches produced during his travels in the virgin lands and building sites of Siberia, he presented the monumental painting The Builders of Bratsk (1960-61), an iconic artwork of the so-called “severe style.” The exhibition took place just a few months before the Moscow Manege Exhibition of December 1962, which prompted Khrushchev’s notoriously negative reaction and the first stop to Soviet cultural détente. ![]() Artists from different generations and Soviet republics were entrusted to illustrate “the deeply human dimension of Soviet art.”1 Among younger painters, one prominent figure was 30-year old artist Viktor Popkov. It is still quite cold (as indicated by the subject’s red ears and nose), but the piercingly blue sky and dazzling sun leave no doubt that spring is already near.With the Soviet Pavilion of the 1962 Venice Art Biennale, the Thaw era made its entrance onto the international art scene. On the one hand, it is a reflection of time and destiny, but on the other a hymn to the coming thaw. In the picture there is no narrative or motion. The artist portrays himself from a highly expressive perspective, viewed slightly from below, as if he is caught in suspended animation. The ideals of the severe style were close to Popkov - its laconic color schemes, the flattening of space, the pursuit of symbolism and a generalized imagery. The picture is similar to the poetry of Soviet films of those years about country life or the conquerors of the North. This work allows viewers to trace analogies with the cinema of the 1960s. The artist does not simply reproduce nature – he seeks to match himself against the mood of his time, to become typical of the age. Self-portraits occupy a special place in the work of Victor Popkov.
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