it portrayed the constantly urgent threat of foreign invasion of which Stalin and the Party often warned. Many artists collaborated on gigantic pieces that depicted the immense size and grandeur of their unified country. But anti-Formalism was not the same as Socialist Realism, because the latter aspired to being much more. A characteristic of Stalin's style of leadership was to set targets without defining either meaning or practicality. When Meyerhold returned to the Soviet Union, he found himself left with very few supporters when the Party officially confronted him regarding his subversive efforts in 1932. Socialist Realism depicted existed solely in the minds of the Soviet people. Following a common thematic practice of Socialist Realism, Eisenstein pitted Nevskii and his army of common men and women against the immense, technologically superior Teutonic forces. In 1935, Deineka decorated the newly built Moscow Metro station with colorful ceiling tiles that depicted a day in the Land of the Soviets (Lincoln 357). One of the first Socialist Realist films was Chapaev, based on the aforementioned novel by Furmanov. Furthermore because reason was universal this ultimate goal would be a state where the interests of the individual and the ideals of society were in harmony.
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Although the Soviet Union was markedly secular, it adopted Orthodox Russias replacement of the individual with the collective. Much of this literature focused on the Russian Civil War and the immortalized heroes that were crucial to socialisms victory. Thus medieval art would reflect the feudal system just as bourgeois art would display the realities of capitalism. These were seen in The Defense of Petrograd, a write for money piece that portrayed the persistence and determination of the Soviet Unions workers to defend their motherland at all costs, and also in later works in which he used bright colors and healthy, robust men and women. Most importantly, it portrayed the Soviet Unions future as being filled with an unequaled prosperity that would forever shame capitalism and its proponents. There he postulated that every stage of cultural development produces its own specific form of art.
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