{"id":27621,"title":"Oilfields in Kazakhstan","dimensions":"","date_begin":"1950-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Helmond Museum","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"oilfields-in-kazakhstan","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/241/medium_500/2003-070.jpg?1600957618","cached_actor_names":"Makhmut Usmanovich  Usmanov","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Painting","nl":"Schilderij","fr":""},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/241/large/2003-070.jpg?1600957618","poster_credits":"Collection Museum Helmonnd. Photo: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eMakhmut Usmanovich Usmanov (1918\u0026ndash;2006) was an artist living in Kazan, the capital of the Republic of Tatarstan, Russia, who received many honours during the era of the USSR. A member of the USSR Union of Artists, Usmanov worked with the Socialist Realist method, and was commissioned by the Soviet regime to produce paintings of the Soviet socialist utopia. Usmanov was also amongst the first to use the subject of oil as a theme in the early 1950s. After the Second World War, Usmanov mainly worked in the so-called \u0026lsquo;industrial landscape\u0026rsquo; genre, that was firstly less strictly defined within the Socialist Realist method, and was also relevant following the discovery of a gigantic oilfield in Tatarstan. By the 1950s in fact, the republic was the leading place for oil production. \u003cem\u003eOilfields in Kazakhstan\u003c/em\u003e reflects the ethos across the Soviet Union of labour relations, investment in national resources, and their contribution to the building of a better collective future. It depicts \u0026lsquo;the morning\u0026rsquo; \u0026ndash; literally and symbolically \u0026ndash; of oil production in the region. Both heroic and romantic in its expression, the painting is intended to show \u0026lsquo;reality in its revolutionary development\u0026rsquo;. Also, compositionally speaking, the painting presents a glorious future for the exploration of the industrial field in Tatarstan \u0026ndash; the men in the centre are positioned on the wild, \u0026lsquo;untouched\u0026rsquo; land, while their eyes are directed to the left where we see explored land with a construction zone and oil pipes. Oilfields in Kazakhstan also demonstrates how the method of Socialist Realism was adopted across the different Soviet republics, and which despite its strict and obligatory conception under Soviet ideology,\u0026nbsp;remained open to a diversity of methods and approaches.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eMakhmut Usmanovich Usmanov (1918-2006) was een kunstenaar uit Kazan, de hoofdstad van de autonome Russische republiek Tatarstan, die in het USSR-tijdperk tal van onderscheidingen ontving. Usmanov, lid van de Kunstenaarsunie van de USSR, kreeg van het Sovjetregime de opdracht om socialistisch-realistische schilderijen te maken van de \u0026#39;socialistische utopie\u0026#39;. Usmanov was ook een van de eersten die, reeds in de vroege jaren 1950, schilderijen maakte met als thema aardolie. Na WOII werkte Usmanov vooral in het zogenaamde \u0026#39;industri\u0026euml;le landschap\u0026#39;-genre. Ten eerste was dat minder strikt gedefinieerd binnen het socialistisch-realisme, en ten tweede werd het ook relevant, na de ontdekking van een gigantisch olieveld in Tatarstan (in de jaren 1950 werd die republiek zelfs de belangrijkste plek voor olieproductie). \u003cem\u003eOilfields in Kazakhstan\u003c/em\u003e toont het arbeidsethos dat in de hele Sovjet-Unie heerste, de investering in nationale grondstoffen, en de bijdrage die geleverd wordt aan de opbouw van een betere collectieve toekomst. Het beeldt letterlijk en figuurlijk \u0026#39;de ochtend\u0026#39; van de olieproductie in de regio uit. Het schilderij is zowel hero\u0026iuml;sch als romantisch qua expressie en wil de \u0026#39;realiteit in zijn revolutionaire ontwikkeling\u0026#39; tonen. Ook op compositorisch vlak presenteert het schilderij een glorieuze toekomst voor de industri\u0026euml;le ontginning van olie in Tatarstan: de mannen in het midden staan op het wilde, \u0026#39;ongerepte\u0026#39; land, terwijl hun ogen naar links zijn gericht, waar we ontgonnen land zien, met een bouwzone en oliepijpleidingen. \u003cem\u003eOilfields in Kazakhstan\u003c/em\u003e laat ook zien hoe het socialistisch realisme in de verschillende Sovjetrepublieken werd toegepast en dat het, ondanks de strikte Sovjetideologie, openbleef voor een diversiteit aan methoden en benaderingen.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eMakhmut Usmanovich Usmanov (1918 - 2006) \u0026eacute;tait un artiste vivant \u0026agrave; Kazan, la capitale de la R\u0026eacute;publique du Tatarstan, en Russie. Il re\u0026ccedil;ut de nombreux honneurs \u0026agrave; l\u0026#39;\u0026eacute;poque de l\u0026#39;URSS, y compris en tant qu\u0026#39;artiste de guerre officiel pendant la Seconde Guerre mondiale. Membre de l\u0026#39;Union des artistes de l\u0026#39;URSS, Usmanov travaillait dans le style r\u0026eacute;aliste socialiste et fut charg\u0026eacute; par le r\u0026eacute;gime sovi\u0026eacute;tique de produire des peintures qui glorifient la beaut\u0026eacute; naturelle russe et l\u0026#39;utopie socialiste. Usmanov a \u0026eacute;galement \u0026eacute;t\u0026eacute; parmi les premiers \u0026agrave; utiliser le th\u0026egrave;me du p\u0026eacute;trole comme th\u0026egrave;me au d\u0026eacute;but des ann\u0026eacute;es 1950. \u003cem\u003eOilfields in Kazakhstan\u003c/em\u003e refl\u0026egrave;te l\u0026#39;\u0026eacute;thique dans toute l\u0026#39;Union sovi\u0026eacute;tique des relations dans le monde du travail, de l\u0026#39;investissement dans les ressources nationales et de leur contribution \u0026agrave; la construction d\u0026#39;un avenir collectif meilleur. L\u0026#39;ouvrage d\u0026eacute;montre \u0026eacute;galement comment le style du r\u0026eacute;alisme socialiste a \u0026eacute;t\u0026eacute; adopt\u0026eacute; dans les diff\u0026eacute;rentes r\u0026eacute;publiques sovi\u0026eacute;tiques et comment, malgr\u0026eacute; sa conception stricte sous l\u0026#39;id\u0026eacute;ologie sovi\u0026eacute;tique, il restait ouvert \u0026agrave; une diversit\u0026eacute; de m\u0026eacute;thodes et d\u0026#39;approches.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}