100 years of Mari fine art: national neo-romanticism (1960–1980s)

Introduction. This article continues a series of publications dedicated to the 100th year of the Mari fine arts. National neo-romanticism appeared at the late Soviet stage. It is important to clearly identify it and to determine itы place in the process under study. Materials and Methods. The research methods are based on the author’s cultural and archetypal approach. The items of art, archival documents, media publications, catalogs were provided by the museums of the Republic of Mari El. Results and Discussion. Culture of the late Soviet period, as a background of national neo-romanticism, is characterized by an anthropological change, a demand for sincerity and expression of individuality. Within its framework, unofficial art, various forms of artistic escapism arose. The ethnical theme brought the main artistic innovations into the ‘severe style’ of the Mari Autonomous Soviet Socialist Republic’s art. Visiting Russian artists, A. S. and B. S. Pushkovs, S. F. Podmarev, A. I. Butov, introduced the concept of “Mari El” into the artistic vocabulary of the Republic, created the iconographic type based on the traditional Birch and Woman archetypes, thereby contributed to the development of the new cultural archetype. National neo-romanticism emerged from the ‘severe style’ and simultaneously formed. Its essence is the poetization of the native culture. Z. F. Lavrentyev implemented it, first, through book graphics to be one of the determinants of ethnocultural reflection. A special role in the development of national neo-romanticism was played by young Mari artists N. V. Toktaulov, I. V. Efimov, I. M. Yamberdov. Conclusion. National neo-romanticism (1970–1980s) is a stage in the development of the Mari national fine arts originated within socialist realism (1940–1980s). But it goes beyond it due to the representations of the essential issues and approaching the archetypal principles of ethnoculture.