Alexander Medvedev. The Stealing Of Europe

Alexander Medvedev.
The Stealing Of Europe
"".

Part One.
Alexander Medvedev.

"The Stealing Of Europe".

Art
trade
war.

The Art Will
Saint-Petersburg
1999.

  This book contains the review and the analysis of the sources and evolution of the modern fine art in the period of 1940 -1990 in XXth century. Attention is focused on the interaction of the ideological, political and financial structures with the representatives of the modernism, on their destructive activity against the traditional European culture, with the purpose of its replacement by their new, Americanized culture. With no pretensions on covering this problem completely, А.V. Medvedev applies to numerous examples of use of the art as standard goods, suitable for gambling in the sphere of the culture, the ideology and the social and political domains. Those examples are not always familiar to the Russian modern reader and they are frequently ignored in the West.
The first part of the book pays the greatest attention to the preconditions, formation and distribution of the Americanized art in Europe, its influence on public awareness. The similar processes on the Russian territory are examined in the second part of the book.


Part One.
The foreword by T.P. Novikov

Art - Trade - War
The Regionalism
The Forming Of The New Art
The Projection Of An Imagined Essence
The Stealing Extent Of Europe
Allen Dalles
The Trades Fetishism
The Dalles' Plan


Publishing house "The Art Will", 1999


Foreword.

The great art culture formed within centuries on the European continent. It has influenced enormously on all the world civilization and has been recognized as one of the greatest achievement of all the mankind. But in XXth century this great culture suddenly and unexpectedly started deforming quickly. And in the appeared new culture the traces of the recent greatness are almost imperceptible in the end of the century. As the European tradition was deeply humanitarian, its collapse is the present humanitarian catastrophe. The old European art is stored faithfully in museums, but artists capable to continue these traditions, are almost gone in Europe. Radically have changed the symphonic music, the theatrical art, the literature, the architecture. At the end of centuries only separate enthusiasts try to maintain traditions. The state system of education in the European countries neglects traditional art with the more vigor.
How and why has this great catastrophe happened? The modern researchers give suspiciously not enough attention to these processes in culture, and only separate aspects of this tragedy are covered in some publications. As it seems to me, the more important that this book describes not only the art, but also public, political and financial parties of the collapse of the classical culture. The appearing united Europe, witnessed by us, should recollect its great culture. The Europeans, suffered in XXth century from revolutions, wars, social and art experiments begin to reflect: was the European culture so bad, that it could be ruthlessly destroyed? The release of the culture from tenacious grasp of every possible political terrorists who took it as a hostage and put on its place the pseudo-culture, is possible only within understanding of the essence of this pseudo-culture origins and the forces worth behind it. I hope this book, which surely could be called a "History Of The Humanitarian Catastrophe", will help to release this culture.

Timur Novikov.


Art –Trade – War

From the very beginning, the American philosophy and the moral-aesthetic idea paid the greatest attention on questions of the USA's role in the world history, putting forward the idea of the American exclusiveness.
This type of self-consciousness influence on the American evaluation of the place and role of their country in the world, and on the practice of the USA's external policy. It is realized in the American expansionism - economic, military and ideological. On distributing its ideology, the USA widely use samples of the modern art adapted to this purpose right after the World War II. In that time the contours of the pseudo-imperial savior orientations were finally distinctly generated. They were shown in activity of the USA as the "American century" was coming on the Earth. The modern art is the integral part of the American expansionism triad: art - trade - war. In this connection we can and we should consider the modern art and its influence on all-forms-distribution of the American hegemony in the world and particularly in Russia.
Entering in XXth century, the USA began declaring about "the civilizing role of the New World", about the superiority of the Anglo-Saxon race and its "special responsibility" for the world's destiny. The senator Albert Beveridge in his Senate speech on 9 January, 1900 defined how the USA understood its own role in forthcoming century:
"The Declaration of independence does not forbid us to carry out our role in the spiritual revival of the world. If it has forbade it, the Declaration would have been erroneous... He (the God) has presented us with the spirit of progress, that we could overcome forces of reaction all over the world. He has created us an experts in the questions of management, that we could operate the peoples, which are wild and come in decline. If there's no such a force, all the world again would run into a barbarity and darkness. And from our human race He has allocated the American people, as the  nation finally elected to supervise the world's spiritual revival. This is the divine mission of America".
The century is over. America has no how  renounced its principles. It is not going to change them henceforth. In this regard, the American president Bill Clinton said in his Message "About the country's state"  on 7.February 1997: "In order to prepare America to enter in XXIth century, we should learn to operate the forces, determining world changes, to ensure the durability and reliability of  the America's leading role for a long time."
"50 years ago America, by showing its foresight, has created the institutes ensuring the victory in the "cold war" and in development of the global economy. We already have  managed to remove a set of obstacles and barriers separating the world, where our parents lived."
Obstacles mentioned by the American president are nothing else but the national, religious and cultural features, essential basis of the world countries. There are countries, which do not allow to involve them on the USA's terms in the so-called "global economy", becoming a barrier for extension of this economy. Being in the system of their own vital coordinates, they are declared by America as centers of the totalitarian regimes, and as the threat to democratic community. The countries not wishing to go in a channel of the external American policy are a barrier to the vital America's interests. These interests are in the creation of the New Trade Order with the center in the USA.
The end of XXth century has shown, that in the final statement of this new order Russia was and still remains the basic obstacle. But also besides Russia there's always a danger, that there can be conditions in the world, when countries constantly adjusting their actions according to the American instructions, will begin using every single opportunity to escape from the trusteeship. It's understood in the White House, - the preventive actions on strengthening of its influence become more and more aggressive. The impacts on Iraq, the bombing of Yugoslavia have a definite purpose - not to give Europe to go on the association and belittling "the America's leading role" in the world. The reliance on the USA's invincibility allows circumspect diplomats not to soften any more their destabilizing role in the regions thinking of any kind of independence. We know the important statement made by the assistant of the State USA Secretary on Political Questions Mr. Pickering concerning the beginning of the NATO bombardments of Kosovo on 23 March, 1999:
"The Problems of Iraq and Kosovo coincide in some parameters. The USA don't pay attention to the sizes of these countries, or to their influence and their global communications, as it occurs in a case with China and Russia. The USA study those opportunities, which they have to destabilize regions so important from the point of view of the USA's interests."
And though it is inconvenient for Russia to be a warrant of stability in a counterbalance to this policy, nevertheless it has not yet lost its international authority. To neutralize its influence on other countries, and, at the end, to eliminate it as an obstacle to establish "the America's leading role for a long times" in the world, the set of means was used: the financing of Russian revolutions, the war and economic blockade against Russia, and also the enormous blasting activity of special services. The ramified system, including a set of institutes destined to change the cultural and moral bases of the Russian society, appeared to be the most effective destroying actions towards Russia.
With a victory in the "cold war" the policy of the American submission of Russia proceeds. The Russian economy depends on the western financial injections, although there are $40 billions on the accounts of the Russian citizens in foreign banks. For today there are 130 thousand of such accounts, but their owners do not hasten to invest in the domestic industry and culture.
The distress of Russia being in the "cold world" without any precise state idea, surrounded by sworn friends - is, except for the internal reasons, a result of that "foresight", which America has shown 50 years ago. It is aggravated by the importunate Americanization of all public spheres. And among them - the Russian culture, interesting for us, which depicts almost colonial state of the country, - with the elite, integrated in the show and art-business living on the grants and the royalties of the Western private funds, and with a lot of confused creative workers deprived of any opportunity to apply their talents.
The complex processes occurring in the Russian society, till now connected with the Orthodox religion and the Sacred Russia, thus aspiring in world community (Europeization of Peter the Great, "Peoples' Will" movement, the Marxism and today's Americanism) - are expressed in products of the culture. These processes have made the culture a battle-field of ideologies. And it's not casual, - the domestic culture has never been secular in the pure state. The religious questions penetrated all the best from works of writers, musicians and artists during the ancient and the new Russian history. The verses of Ivan the Terrible and poetry of К.Р., the music of Rachmaninov and Sviridov, the paintings of Nesterov and Malevitch testify that their creators (people from highest stratum or from the bottoms) in their creativity tried to answer exciting religious questions. Those questions originate from the very system of public and personal life of the Russian man. We don't have to ignore this feature of the domestic culture.
Unlikely the Anglo-Saxon Protestant religion, where in the head there is a man, with his values, in Orthodox religion the mankind is an imperfect material requiring for reduction to the Ideal, the Divine. Briefly, if protestant man most of all is interested in conditions which allow to fully observe his rights, the orthodox man is more anxious, if his life corresponds to those duties, which he carry being baptized. The goal of the individual protestant existence is guaranteed by the inalienable rights and is expressed in the achievement of personal material well-being. We hastily say - "the human rights". It is necessary not to displace semantic accents of this concept and to mean only what it contains, and nothing more. And it contains the classical protestant triad: life, freedom, property. And its internal structure does not allow any other rights without the right of property. As we see, there is no place in this system of Western man's life order for burning issues feeding the Russian culture.
Till now the XXth century art literature has been bypassing every issue, able to reveal, that the religion was a part of the culture. And if from the middle of XIXth century the secular painting ceased to address to the religious plots, it doesn't indicate the loss of their deep connections. It was inspired, that the modern civilization has the art and culture digested all religions of the world, and together with the faith in a certain highest essence has a belief in progress. Unfortunately, mankind is released from these follies painfully, - through the bombing therapy. Just remember inscriptions like "Happy Saint Easter!" on the rockets and bombs, which were brought down on the orthodox Serbs by the NATO forces! This faith in progress, obligatory for the all global community demands to refuse of all the individuality capable to emerge in the national, religious, cultural features and the state system.
Artists, who were the most assiduous in Russia, contributed to the promotion of the new ideology in a society – "the American dream", adapted for various strata of the society. Definitely, in the artistic environment the man's natural aspirations to freedom of self-expression were made out as indispensable opposition to all other elements of the creativity. The myth about America arose and was distributed in this environment encouraging a zest for freedom of self-expression, and moreover, protecting the personal freedom from encroachments from the part of the state. But also a disappointment in a false idol created by artists' hands on means of transatlantic ideological missionaries at first has overtaken the creative workers, who believed in the close prosperity. The forces considering the system of the new world order to be an American prerogative successfully tried to divert artists from solving problems, which now artists again face with all acuteness. In a pursuit for a chimera – "the freedom of a creativity" (what is actually a lack of artist's freedom, except for his own imperfection?) artists haven't noticed, how they were manipulated by those whose interests (transformation "of the human factor in quantity", i.e. in money) were prevented from being distributed by cultures of the countries, where artists lived. This process common for European artists have been stretched, approximately, for 50 years and was begun with the cubism and finished with the postmodernism. The process somehow has affected visualization of the Americanism surprisingly distributed in Europe already during the World War II and right after it. Whether we want or not, but the history of the XXth century compels us to admit, that such concepts, as the art, the trade and the war are closely connected. In this context it's ridiculous to continue speaking about the ephemeral freedom of creativity, which is only a change coin, for the sake of which the artist is compelled to refuse of seeking for the purpose of the art in personal and public life.
The desire to realize and to understand, how was it possible to maintain conditions to implement the American interests in Russia damaging its own ones, requires a steadfast sight on events and on the persons, preceded and evoked a present situation of our culture. To know in general, how there was a statement of the Americanism in culture of the European countries and in ours, we shall focus on the fine art.
First, this culture domain is in our greatest competence.
Secondly, the processes of national features' loss (those features form a richness of the world culture), taken part in other art domains and cultures during the surveyed period, are completely similar to those examined by us.
Thirdly, the fine plastic arts and connected with them the design and the multimedia, without a language barrier, are the major means (after the music) helping to create the ground for establishing of the New Trade Order in the country. Creative workers, students of art institutions and everyone, who is interested in the domestic and world art and the avant-garde history are recommended to remember some historical events, from the point of view of the art, the trade and the war bindings. To speak about the art ignoring this aspect - means either to underestimate a threat of domestic culture Amircanization, or to contribute consciously to its spread, what  actually is the same mistake.
In the beginning of the XXth century the Americans, earlier indifferent to the modern art, have paid attention on it concerning its ability equal to the mass consumption goods to produce a benefit. The fact that the art itself can advertise the American life image attracted the pragmatic Americans. The art, freeing a path in other countries for the "made in USA" goods, eventually, led America to an exclusive enrichment.
The cinema has attracted the American business circles' attention to the art as to a way of installation on the selling markets. But unlikely the cinema where the Americans have quickly succeeded, in other kinds of art they couldn't compete to Europe. It was the American unicultural deficiency. It's impossible to create in short term, for example the fine art school equal to the European one. The USA could influence directly on Russia partially with the help of the cinema and the jazz. The American literature wasn't a conductor of the Americanism. On the contrary, it caused the Soviet people to see a picture of ruling alienation "there". Hemingway, Henry Miller, John Stainback were not the exponents of the American dream. Not talking about the authors discovered by us later, such as Charles Bukovsky, Timothy Liry or William S. Burroughs. The American artists, having risked to go by the European way, frequently ran, however strange it is, in the hopeless provincialism. It was expressed in an original parody to aggressive self-sufficiency of the American life order. An illustration to that - the "regionalism", a trend in the American painting in the 30-s of XXth century pretending to create their own radical tradition.

Yvanyan E.A. The White House: The Presidents And The Politics.  -Moscow, "The Political Literature", 1979, p.9


The Regionalism.

The "regionalism" or "the new substance" has expressed the most lifeless features of the American reality. The governmental "Federal project of arts development" or the "Roosevelt's plan of monumental propagation" reasoned a creation of such a trend. The program directed on the state regulation of the economy has distributed the governmental orders practice: the construction and ornament of public buildings, the support of easel-painting in order to activate a social tendencies and to employ artists. The "regionalism" was directed on strengthening of the perishing province patriotism. The "regionalism" was welcomed by the extreme-right patriots, thus has recovered the racial theories. In amount  with all other reasons it helped to distribute the isolationism ideas or, so to say, the "American foundation" in the society of the 30-s. But we should avoid being mistaken considering the government interests and private capital to see exclusively on the American "ground". It won't happen if we look closer at that time documents, appeared in the Congress, corporations' annual reports, and also at the manifestoes and the "regionalists" paintings. To understand it we are to consider both of these examples.
In 1933 the fascist Hungary dictator Chorty has given to "The Standard Oil Of New-Jersey" concern a concession on 3,2 millions hectares oil-reach area. John Foster Dalles, future chairman of the USA State Department, and in that time the intermediary between "The Standard Oil Of New-Jersey" and Chorty, has played in this bargain a decisive role. It's an example of the American external economic expansion which isn't stopping even on the background of internal problems. It is also interesting that "The Standard Oil Of New-Jersey", largest world monopoly, is a core of the Rockefeller's petroleum empire. (You'll read a bit later in this book about Dalles' role in the distribution of the American influence in the politics, economy and art, and also about his brother Allen, who was taking part in the CIA foundation.)
In 1944 the American bombers did their best to destroy oil workings in Hungary before  the Soviet Army had arrived there. One of the directors of "The Standard Oil Of New-Jersey" Mr. Leo D. Welch has proclaimed: "In this firm, as we call the world, America should undertake a crucial role of the main shareholder!" (1)
Artists-regionalists had the similar points of view. The leaders of the "regionalism" – Benton, Wood and Carrey were the active workers of the "America – first of all" program and developed its aesthetic part. By the way, the program's name has a nazi smack. It was offered to introduce everywhere "the American way to see things". For this purpose primarily it was necessary to condemn the "east capitals of financial life and politics", which were hostile to everything, "that is new and original in the American style", and then to strangle the Europeism as cultural model of the world. Concerning this matter Grenth Wood (1892-1942) wrote a pamphlet "A Revolt Against The Cities" (1935). One of the characters of Kurt Wonnegute's novel "The Blue Beard", a newspaper publisher Arnold Coates also expressed the anti-European tendencies "If it is my will - I would call the European countries in the American geography textbooks by their true names: the "Syphilis Empire", the "Republic Of The Suicides", and the "Kingdom Of The Delirium", and right besides – even better – the "Paranoia". (2)
It reminds us about the Krylov's story "The Fox and the grapes": a resentful denying of unattainable, the scornful American attitude to Europe are caused by the crash of American intentions to achieve the European cultural level in the shortest terms. In the beginning of the century the American artists practically couldn't be ratified in a society or to have a serious image selling their works, if they all the time stayed in the USA. Attention and interest were probable by spending some time in one of the European academies. And the most lucky was an artist, who could brag of owning a workshop in Paris. The internal uncertainty, feeling of false shame before all the English and specially French has caused the monstrous arrogance and paradoxical, some times comic behavior of the "culturalized" Yankee.
The Vereschagin's American Notes, generally benevolent have an easy bewilderment. It's freedom-loving citizens, it seemed, competed in ways to surprise the Russian artist. "The Famous electrician" Edison shocked Vereschagin with his reasoning of the art. At his point of view banal Bouguereau cost of all old painters, – Edison asserted, that he was worth of twenty Rafael paintings, - Bouguereau, the French! That was followed with a spit. This contemptuous (or else - spitting) attitude to the art - is not a figurative expression. Vereschagin recollects this American habit to spit in public places. At the Public Art Gallery entrance his attention was attracted by little notice: "Those who will be caught spitting on a floor, will be immediately expelled from this building!". The art works were estimated too rather originally: "We, the Americans, highly appreciate your works, Mr. Vereschagin; we like everything colossal: vast paintings, huge potatoes..." (3) Since then many things have changed, but the "potato sight" of the art remains as the integral American feature.
At the American way to see things artist-"regionalist" and politicians' vision of the America's role in the world coincide. Wood himself doesn't deny (hardly it's possible - his paintings reveal everything), his creative credo being generated under influence of the German art. The rigidity of the special "American way to see things" in a combination with the realistic manner of painting gave a boomerang effect to what these artists wanted to achieve. The American life style in their works depicted the severe reality admitting out of all human feelings, perhaps, the sentimentality, only in relation to the true American values. For the "internal use" this art was the best for the "America - first of all" program. But it was impossible to appear before all the world as an aesthetic embodiment the "American dream". In the works of the "new substance" artists of the "freest country in the world" looked too frankly, and as a caricature. It's enough to recollect a G. Wood's work "The American Gothic" (1930) or his "Daughters Of The American Revolution" (1932) to understand, that the indispensable "American smile" is not inherent, but the recently acquired people's feature. And even in a line of capital trues about stiffness of the Englishmen, pedantry of the German, amorousness of the French, the Americans couldn't be entered as the always smiling nation - the Europeans have seen this notorious bared teeth just recently, after the World War II. And it was unforgettable.
Before the war the Americans were known in the world, as they are in a John Stewart Carrey's painting "The Baptism in Kansas" (1928). And though since that time there was a thousands of American sects in the world, today's preachers are unlikely to show to their potential attendance such products advertising the American religiosity.
Very soon the American superiority ideologists have understood, that these realistic works displayed too obviously the real freedom and rights situation in America. The "regionalists" paintings, according to other bright movement representative, Thomas Benton, have quite evidently expressed the concept of the "true America", and its apotheosis.
He writes: "I don't pretend to depict things that can be called typical for America. In life I've never met anything that could be possibly called typical for this country. My image of America is made of what I've met... - no less and no more". (4) Benton himself was known as the fresco creator for public buildings such as The New School of Social Researches (1928), the Whitney Museum Of The American Art (1932), The Indiana State University (1933), The Missouri State Capitol in Jefferson-city (1936).
The skills of this trend artists were enough high, and consequently the "regionalism", being realistic, and, say, "the American way to see things", was a vivid example of negative experience of the "American dream" visualization. This art with its severe naturalism repelled the Europeans from the "Freest country of the world", which after the World War II has become excessively active in interference with the European policy and economy. The Europeans, who already concerned America suspiciously, were somehow warned by the "regionalists" works, that the life in America was far from being sweet even for its citizens, and waiting for anything good from it was worthless.
Unexpectedly the Americans have found out for themselves: it was not enough to have means and will to produce the art works - the spirit of the nation was also important like a "nutritious environment", capable to set the creativity conditions. Even the Americans, the most enterprising nation, found difficult to create this spirit at once. The geographical American spaces neighbor with the "moral emptiness" of the American soul. "In the intellectual aspect they are even emptier, than the Sahara desert"(5), - said about the Americans George Santanayana, the philosopher, who belonged to the American conservative academic elite circles in the first third of XXth century and who taught in the prestigious Harvard University.
That were the businessmen who have found the way out from that situation, when the American art couldn't be at all a producer of the "American dream", with the American goods as an accompanying loop. The bank and industrial capital began looking for a completely different forms of the American life style advertising, which could be successfully used in the realization of a super task - the establishment of the USA's leading role in all over the world.
The strategy of global superiority in questions of the art is in the following. If it's impossible to achieve significant successes in the traditional, "old" arts, it's necessary to create a new tendencies and even new arts. This idea could only appear in a core of the sectarian  individualism. This individualism has created the businessman or a bourgeois in the economy, and independent artist - in the culture, who is alien to all established public settings. These two social characters - bourgeois and artist - are illustration of an inclination to the "novelty", which is common for the American world order. We can speak about the industrialization of the novelty (something completely unprecedented for the mentality of old Europe inhabitants) as about the typical American invention.
The industry of novelty is the most profitable business. It covers all spheres of the American public and personal life. There are certain terms of rotation of subjects and products, which are obligatory for the modern American, and which become obligatory for everybody who go with the times. Do you want to go with the times? Well, be so kind to change your car for latest model every two years, to get computer upgraded one time per year, to buy a new costume in every half-year. You should have the newest works of art. But it's not enough. You are obliged to become annually... younger! The cult of youth reigns. The Americans are extremely anxious about gerontology problems. They don't have children till the age of 35-40. Their panic fear before finally born children is explained by the compelled loss of their own infantilism and the inevitable, new expenses. The Walt Disney ideology is implemented at the cultural level. It's expressed by the hypertrophied interest to trivialities, by prevalence of the entertainment above the intelligence and the creativity awareness. The behavior style is formed in ways of the animation movies, and man begins existing according to the prescribed image in the world of the artificially created carelessness. In 1975 the company "The Walt Disney Productions" has counted up that all over the world there are: 240 millions people saw at least one Disney movie, 100 millions were watching weekly one Disney movie, 800 millions read one Disney book or magazine, 50 millions listened to a Disney LP or danced Disney music, and 150 millions bought the goods made under the Walt Disney license. (6)
The Disneyland and "The Walt Disney Productions" are examples of synthesis of the entertainment, business and ideologies. This phenomenon is more and more distributed in the USA and everywhere, where the American Media has influence. Walt Disney started his activity almost simultaneously with the "regionalists" and, unlikely them, has managed to create a visible image of the "American dream". Philistines of all countries are incorporated on affection by the world of his goggle-eyed heroes. What is the sources of such attractiveness? Apparently, in the main ideological message - "Here you have the world, which doesn't know social conflicts".
Other extremity of the youth cult is the distance-making from the senior generation. All and everyone begin with a clean page. In this sense a refusal from the "regionalism" in painting is original disposal from the "umbilical cord", connecting the American artists with the European art attitude.
Being young! Young - as longer as possible. To make youth our constant state, to impose it to all the world and thus to make a benefit! The novelty industry forces the Americans to undertake actions amazing in this sense. The world gets younger in front of our eyes, and turns into some transnational "Dorian Grey's portrait"! Thus many companies prosper making a set of products which can deceive the nature. The American concern "Revlon" with its annual turnover of $850 millions has the pure income of $62,6 millions. It exists due to a vital rule: each Spring and Autumn to renovate a cosmetics assortment, outstripping progress and fashion. Actually only names and prices vary. But who checks it, The World Trade Organization or somebody else? The products' ingredients for prolongation of the youth is a commercial secret. But if it becomes obvious, it's not at all reflected on profits. Nothing has changed, when consumers have found out that the company "Johnson and Johnson" tested shampoos, creams and soap corrosiveness on rabbits' eyes. Rabbit's corneas are greased with testing material. And one surveys how fast animal's eyes become dim and how soon rabbits get blind. The company has after all an annual turnover for more than $1,5 billions. Consumers have fresh skin color and brilliant, magnificent hair. And who cares about rabbits!
In aspiration to the "novelty" the Americans have completely concentrated on the economic competition. In questions of culture dealers and politicians were looking at Europe. There, in essence, they have undertaken some sort of the violent purchase of the initial cultural capital.

______________________
1. Mader Y.   "The Gangsters Of Allen Dalles". -Moscow. "The Voyenizdat", 1960, p.26.
2. Wonnegute K.  "The Blue Beard".  -S.-Petersburg., "The Variant", 1994, vol. 1, p. 267.
3. Vereschagin V. V.  "Tales, Sketches, Memoirs".    -Moscow, "The Soviet Russia", 1990,  p. 232-234.
4. "The Modernism. The Analysis And The Criticism Of The Basic Tendencies". -Moscow, "The Art", 1987, p.229.
5. Melvil A.Y.  "The Social Philosophy Of The Modern American Conservatism". -Moscow, "The Political Literature", 1980, p. 36.
6. Larin B.  "The International Relations And The Ideological Struggle".  -Moscow, "The International Relations", 1976, p. 118.



The Forming Of The New Art.

Having left all attempts to possess the traditional arts, the Americans have undertaken their own newest art creation, certainly, on the basis of the European patterns. They have bet on the most radical trends. They've made the theoretical basis for their establishment and distribution. Also was formed the modern artist image - an irrepressible innovator, who takes the creativity, first of all, for a permanent seek for novelty. He attracts a public attention not so much with his works, but mostly with his eccentric behavior. The artist's name becomes a goods this way. It was favorably to cultivate the image of an independent artist, an actor, neglecting a bourgeois society with its stock-exchange morals and its culture. Here we have an interest of two social characters - bourgeois and artist - coinciding right in desire of having an opportunity to exist at the "novelty's" expenses. And though the artists understood a permanent innovation as inexhaustible creative potential source, also they had to take into account the bourgeois vision of the novelty. This way the "free creativity" was bought. Precisely enough Igor Grabar describes an interlacing of creativity interests and business in his book "The Captured Art", written on his impressions about the Western art during the trip in Europe and the USA in 1928-1929.
"All of us are inclined to welcome everything that looks new, and especially that looks left, according to the known syllogism: all the left excites a sleeping bog, shakes and deafens fat bourgeois, therefore it is revolutionary. But how come, that the most satiated representatives of the European highest financial aristocracy, as well as ours a time ago, in every possible way enjoyed and continue enjoying the leftest art, getting own galleries only of the extreme artists?" (1)
It's true, that in the beginning of the century Paul Delyarov carried his Rembrandt's works to France, and Sergey Schoukin carried therefrom to Russia tens of Gauguin's, Matisse's and Picasso's paintings. "The acquaintance with paintings trade techniques, the history of occurrence of a numerous private collections, the hidden life of some publishing houses and scientific researches of some well-known authors opens for a bit a veil hiding that complex world, where the sincerity and the hypocrisy, the honesty and the deceit, the unselfishness and the zest for gold, the talent and the lack of talent are unexplainably bound. The values are forged in this weird atmosphere, under a cross fire of such opposite ideas, feelings, motives and features. These values bring the art delights and cultural pleasures to ones, and the profit to others". (2)
The auctions, represented the art quite rare before the World War I, have played their role in forming of attitude to the new art as a new gambling means. The fact that, for example, international auction firm "Sothbis" sells annually about 250 thousand subjects, depicts limitless auctions' possibilities to influence this forming. The "Sothbis" proceeds  since September, 1987 till July, 1988 (in the period, when "Sothbis" auction passed in Moscow for a first time) were for $1548 millions. (3)
Now auctions are one of the most reliable means of the price control for art works. Merchants, involved in the new art trade, have also established the new rules. The artist whose name has been entered into the auction catalogues, is not free any more to quote arbitrary price for the works which buyer has decided to get apart from the auction. The buyer knows, that this artist's works can't cost more than a certain sum. And the buyer, avoiding bargaining with an artist, always buys his work for fixed price from the merchant. If an artist doesn't wish to fail a bargain, he will evaluate his work according to the price of similar to those entered in the auction catalogues. Merchant binds an artist not only by rigid price chain but also by preferable subjects requirements. And if in Europe in the early 30-s the American painting's buyers demanded merchants to give flower paintings, latter asked artists to paint flowers. Here they were: draw bouquets, garlands, wreaths, beds - but always flowers. Paint in any manner possible, but flowers. It reminds the tale about Ford who, while answering the designers' question about car's colors possible, said: any color, if only a car could be black. No artist's liberties were allowed  where the profit was at stake. But in all rest the maitre's whims are even necessary and encouraged. The material support of such an artist, at simultaneous emphasis of his scandalous image, creates the best preconditions for the occurrence of the whole trends and schools of the "modern art", which is called the modernism from the beginning of XXth century till 1960. The Igor Severyanin's "Memoirs" are very curious in respect, how he together with Mayakovsky traveled along the Russian South, sponsored by Moscow merchant. They propagandized the new poetry, getting all the best meantime and thus they had an unexpected success. The American dealers were doing business with much more scope.
As for the economy: the cubism already, appeared in the beginning of the century, had business ties. Young Picasso's independence was supported by Vollard, behind Braque's back stood the German dealer Wilhelm Uhde. But the cubism finance minister was Daniel Heinrich Kahnweiler, who gave up his place to Harold Rosenberg after the war. No other trend precedent to the cubism haven't brought such rough revival to the art economy. The cubism's birth is possible to attribute to the time of the modern art-market's concept occurrence. It has arisen within the direct American participation. Since 1906 Picabia, Duchamp and Picasso were going to New York, where they have found their sympathetically adjusted patrons - Walter Arensberg and Alfred Stiegliz. Stiegliz was the first, who in his gallery on the Fifth Avenue has shown the European innovators.
Kahnweiler in 1925 bought up a set of pictures of cubists and "fauvists". When he has thrown out on the market all his collection, it has evoked the enormous prices fall on pictures of the newest school artists. It was possible to buy Picasso for 300-400 French franks. The opportunity of gambling on rising fashionable trends, planned already in times of Durand-Ruel, for the first time has become quite real. It's necessary to tell, that such worldwide known galleries, as Durand-Ruel, were engaged in annual purchases of huge amount of art works by the orders of the American clientele. The Durand-Ruel gallery is a proprietor of the most known impressionists paintings. In that time they were acquired on acceptable prices, although spectators perceived impressionists only with laughter. Now those are pleased who has put the art-market on completely new level, distinguished by its art directions' serial novelty. And that rigidly outlined the circle of persons who were competent in these processes. Members of this circle defined the cultural and financial products' cost, arranged exhibitions, issued monographs - so they advertised the new art. Behind each collector or paintings dealer stood a circle of persons, whose activity gave significance to their names in sphere of the art-market. The character of the new art was now determined on a joint of interests of the press, collectors, private galleries and museums making with the elected artists one common family. It was also defined by an interaction of industrial and financial tycoons representing the American corporations interests. Their interests both in the art sphere, and in the economy and politics were found to keep and strengthen their own priority in getting super profits. And consequently the focus on interconnection of the art, trade and war, as armed, ideological or cultural aggression, would be original refrain of our review.
During 1909-1914 Picasso had a number of personal exhibitions in England, Germany, Spain, America, and even participated in the joint cubist exhibition in Russia. The American business circles interested in the new trend's (cubism) establishment took active part in the organization of these exhibitions. Hardly it looked like a charity, and was likely to be a birth of the whole modernism industry. It become real to proclaim somebody to be an artist irrespectively of his talent. The artist and his works henceforth turned to the goods, and they were treated as the goods. So, for example, in 1947-1948 a selling in the art-market has sharply fallen. And at once the artist George Rouault has received from the Ambroise Vollard's successors 315 pictures of a brush of... the artist George Rouault! Owing to such unprecedented congestion of paintings in author's hands, the catastrophic works' prices fall was quite expected. Well, the art, being compelled to exist according to the capitalist manufacture laws, turned to goods first of all, underwent all specific market's peculiarities, including the overproduction. The Brazilian coffee planters in fruitful years burned coffee in furnaces of steam locomotives and dumped it in thousand of tons into the sea, in order to maintain the price, established in the global coffee market. Like them, George Rouault at the notary's presence has filmed for a newsreel a colossal "auto-da-fe", burning his all 315 paintings. (4)
Such crises only recovered an art-market gambling. Success was getting more and more dependant on the playing scheme of the interested parties, and the art work ceased to be self-sufficient - it became a function, an echo of artist's external activity and his promoters. The capital intrusion into the art history, so evident during last decades, had already begun in the cubism epoch, and it was initiated with the Americans' help. Besides all the avant-garde's history, even now related to the art history, however, began developing otherwise, more corresponding to the financial and commodity stock-exchanges game principles.
The Americans have deliberately chosen France as the place for final step of the art commercialization because of its vast authority amongst all the European artists. The World War I which has weakened absolutely all continental Europe, was in the best way used by the States to make a maximum political and commercial profit on the War's results. On the War's eve, in 1914, the USA owed to Europe $14 billions. During the War the Americans have paid their debt by military credits and deliveries, and consequently have turned to the largest world creditor. Moreover, the USA war allies owed to the American government and private banks $20 billions. Among the debtors there were England, France, Italy, Belgium, Czechoslovakia, Yugoslavia, Austria, Hungary, Baltic states and many others. The total sum of the pure income received by the American monopolies exceeded the enormous sum of $27,3 billions. (5) And since then the American positions in Europe have been getting only stronger. During the war the number of the American millionaires has increased for six times. Herbert Huver, the first after-war Trade Minister and the future president, was the one of them.
Using the force of French cultural influence on the Russians, traditional for Russia since XVIIIth century, the Americans, being deprived themselves of this influence, have mostly predetermined today's discrimination of the Russian realistic art and its replacement by the abstract one. France, certainly, wasn't a voluntary intermediary in the Americanism's setting in Europe. But the policy, carried out by the USA in Europe, and the after-war conditions forced France to accept any terms, dictated by the USA. In this case, it's interesting to know, how the new art developed in France and how the Americans contributed to it.
The well-known cultural rivalry of Paris and New York in 60-s more and more reminded a fight of different weight categories boxers, where New York obviously was a heavyweights. Paris' illusions to remain the world art capital were lost in 1964, when at the Venetian Biennial the Grand-Prix was received by the American Robert Rauschenberg. It has hurt the French artists' vanity. Henceforth it was necessary to consider the quickly strengthening American art, which wasn't adjusted on mastering of the European school values system but intended to impose its own ideals. And here the Americans have shown their complete mercilessness, rejecting any deviations, typical for many European cultures. The abstract expressionism, the first large style born in America, was spread everywhere. Pollock begins this gigantism, characteristic for the American abstractionists.
The Pollock's exhibition in Paris in 1952, at the peak of the "cold war" largely impressed everyone keen in the latest fashion. For the USA it was an important gesture, a declaration of the superiority in the new art tendency.
In this period, known as the "witch hunt", in Hollywood there was a prosecution of the cinema figures who were charged of the distribution of the Stalinism in the cinema in the 30-s. The USA former communist party member, nowadays alive, director A. Casan ("The Tram Desire", movie) carried out dynamic exposures initiated by the FBI and the CIA, what cost of careers, and even lives to a number of the American cinema figures. In this situation America should prove, that it was not only capable of adopting of the European ideology and culture, but also of creating of an advanced art. Pollock should show the pure American art, unprecedented in Europe, with its artist's unlimited freedom and new painting criteria, namely - a show. Not only a cloth meant, but also a process of creation. Actually Hans Hartung was known to do something similar in Europe in 1922. And hardly Pollock could argue that: when the German Hans Hartung moved to Paris in 1935 and got known by his abstract painting, resembling expressively drawn hieroglyphs, regionalist Pollock was crossing the States, executing the state orders in frameworks of the "Roosevelt's plan of monumental propaganda". But in the beginning of the 50-s Pollock, an action painter, stood ahead of the American art world distribution program supplied with the financial and information support of the American finances. Henceforth it was impossible to divert from the USA's way of painting's development, and to stay at the same time in the "modern art" context. The art should be equally estimated in New York and Amsterdam, in Tokyo and Paris. And that has resulted to the art style leveling.
The Europeans were compelled to accept this "international" style or simply the Americanism, hoping for a worthy estimation of their own works. No matter how the French artists sickened at the Americanism's expansion in the after-war art, - nonetheless they had to consider the real situation: the Americans were the rulers of the art fashion.
Bogomyl Rainov describes this dramatic time for the French artists in his book "This Wonderful Craft". In a quoted fragment there is a typical French discussion of the art state in the country when the Americans were there.
"The new art, - continued Gimon, -... can be created by those who love human. And in America a human has been expelled from the art a long time ago. The question: what's left? They steal even methods of our abstractionists, and then they boast, that they have found a key to the great painting. I remember, when after the war I should represent our country on one of the discussions with the American artists. One of them has taken a word and began talking that they were liberated from influence of the Parisian school. Another has declared with impudence, that they have already taken everything from Europe, what was possible to take, including its museum values, and didn't require any more of its lessons. Third have told, that days were coming, when all the world would be thought by America. (...) When, I have been finally offered to speak, I said: "Recently the American agriculturists have taken from us a "Paummar" grapes seedlings. Seedlings were planted in California and grew perfectly. The grapes were even larger than ours. But only taste of vine was no more the same". (6)
The French artist thinks of the European categories concerning the art, speaks about the taste, about the love to human. But the Americans are interested in absolutely other things - the art's ability to bring a profit. Here is a measure of the estimation.
The art public protests against attack of the Americanized merchants on the French art were frequent in that time.
Fernand Leger repeatedly complained about active imposing of abstract art to be a samples for the modern French artist. He said: "Our epoch should give works with stories. The youth wants it, so it's even better". ("Les Lettres Francaises", №281.13.X.49)
Five years which Leger spent in the USA, where he taught the painting, gave him not the best impressions from the stories, offered to the artist by the American reality. Actually, Leger hasn't seen a story, which could be a way to enthrall by unexpected turn of events or by occasion to observe a man in his passions, - i.e. all that social and existential dramaturgy forcing an artist to seek for an embodiment form. The American life system has struck him with its persuasive monotony. The country, where all undertakings should bring guaranteed profit in the shortest term, was not the coziest place for an artist. Therefore one could hear from the European Leger the verdict to the imaginary dynamism and variety of the American life.
"... In America.. there are no traditions, no variety of customs, no its "own" art - there is a dollar. And dollar isn't a symbol of the present country's richness. You drive away from New York for hundred, for five hundreds, for thousand kilometers, and everywhere you meet the same beautiful blond girl who offers you a sandwich and a Coca-Cola". (7)
The similarity, the serial production are signs of the quality, of the authenticity and has a dollar equivalent. Using such approach it was difficult for the Americans to consider any "piece goods", what the art was at the European scale. And while the European publishers, the French Skira or the German E.A. von Seemann were improving the quality of art works reproduction, the Americans were improving dollars printing. They are proud of the especial green paint, which never dries up, leaving on a clean sheet a enclosed dollar trace.
Besides Leger the entire artists groups acted against the starting American culture missions in France.
In 1948 the American company "Hallmark" announced among the French artists the competition with the main premium of $3500. The terms of the competition were those, that the primed works could be used freely by the company without noticing the authors. Group of the artists, including Fougeron, Taslitzky, Buffet, Pignon, Singet and others, have refused from the participation in this competition and have written the following text, which was published in "Mutualite", one of the biggest Paris magazines.
"It is impossible to consider interests of the French art to be separated from the basic interests of France.
The alignment of the French policy on the American one is quite threatening to our freedom. So, we see in Hallmark competition with its apparent nobleness a reflection of the same hegemony policy, which is nothing more but a mean to destroy our national independence. In this case the competition serves to the political, economic and public interests, alien to the prestige of the French art.
That's why artists subscribed announce, that they will not take part in Hallmark competition". (8)
But, despite of all patriotic mood and artists' actions, the curtain shielding the French art from the Americanism was brought down. The creative opposition of Paris and New York was finished by a complete defeat for the French up to the beginning of the 60-s. The enthusiasm for the abstract art has become epidemically popular. The American capital's infiltration in France was the reason of this enthusiasm. A finances were taking into account the tendencies of the modernism's development in France and was using it in their interests.
The first sample of a new wave of advertising and quasi-theoretical compositions propagandizing the abstractionism, was Michel Seuphor's book "The Abstract Art, Its Origins And The First Painters", issued in 1949. Having received the order from one private paintings gallery owner, Seuphor has collected together in short term all the symptoms of the common tendency of refusal from a real image in the modern painting. The author has processed insignificant facts from artists' biographies, who were little-known or without a brilliant reputation, from the point of view of his circuit. He has created some kind of "mythology" of the abstract art, differently repeating things already existed in vast volume of this topic's literature published after the World War II. Seuphor told about the creation of this work in his other book, "The Abstract Painting" (1964):
"In November, 1948 Emme Meght (the owner of the same name gallery. - author's comment.), being dissatisfied by those chaos, which was reigning in the critics' minds concerning the abstractionism debut, has offered me to state freely my own ideas concerning this problem. He has given me three minutes to think and three months to write a book. In April, 1949 the work "The Abstract Art, Its Origins And The First Painters" was published". (9)
In the same time the magazines and the abstract art reproductions albums issued in America were distributed in France. At the beginning the American art was studied with reproduction's help. The artist Marc Devade ironically noticed, that having access to the American painting only through the "Artforum" magazine, he has selected for his work the stamp size, whereas Claude Viallat, thinking, that Pollock was using a large format, was more and more increasing the size of his works.
The modern means of the communications allow today to trace the latest news from any artist creative workshop. And the French also use them actively, continuing adopting the vogue methods which bring to their American colleagues the world popularity and money. The detailed information of the sales sums on auctions, of the premiums' sizes in various competitions is destined for the mercantile artists. The Americanism's influence of this extent disturbs the French, but they can't struggle overtly for the culture independence. As the French critic and art theorist Katharine Millet says, that the French even reproach themselves in opposite to what they charged their ancestors for: in the too steadfast attention to foreign artists, neglecting the domestic ones; in absence of a precise position, that doesn't allow to assert with honor the artists' creativity on the world arena. Katharine Millet supposes, that the similar bias is caused also by one of the traditional French culture features - the surprising ability to assimilate external influences.
It's interesting, that the reproaches in unusual attention of the French to foreign artists were justified and coincided with the time of the establishing of the American financial domination in after-war Europe. And in 1947 in France the bilateral "Blum-Birns Treaty" entered into the force. It obliged the French to quote the annual display of their films, thus opening a way for the Hollywood. The State Secretary of the Truman's cabinet , James Birns made it understood, that after the Roosevelt's death the radical changes in the American external policy have occurred. To completely diminish the USSR influence on the European countries, acquired by releasing them from the Hitler's occupation, the USA start actively penetrating into the European countries' culture, leaving no place for anyone, but for themselves. Birns considered, that on having the American military power available and dislocated in Europe, the similar pressure on the European cultural process doesn't run any risk. Relying on weapon force, the USA interfered with the European culture, superseding the Soviet Union from Eastern Europe and discrediting it in the Western one. It was the action time of "The Truman's Doctrine" accepted in 1947  and "The Marshall's Plan", demanding the unshakable and resolute measures in an opposition to the USSR. In that very time John Foster Dalles was at the State Secretary's post. He was the malign figure personifying the USA's external policy of the 50-s. As well as his brother, Allen Dalles, the CIA chief, the State Secretary was closely connected with the important financial circles. He was close with the Rockefellers family, who bet on the modern art development and undertook actions to establish the America's leading role in forming of the modern art market. With Dalles' help these sirs have decided to strengthen the influence on the cultural, ideological and economic European processes, and then on the Soviet Union's ones.
Certainly, "The Blum-Birns Treaty" gave the Americans an opportunity to work, taking into account the cinema's development prospect. Pursuing their economic and political purposes, the American cinema dealers started investing in the French avant-garde cinema known for us by names of Jean-Luc Godard, Truffau, Chabrole. Other trends representatives, whose art didn't correspond to the "new reality" couldn't expect their works to be appreciated objectively.

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1. Grabar I.   "The Captured Art". -Leningrad, "The Artist Of RSFSR", 1971, p.32
2. The same source, p.32
3. "The Decorative Art". 1991, №2 (399)
4. Mozalevsky I.   "The Modern State Of Artists In France". -Moscow, "The Academy Of The USSR Arts", 1950, p.60
5. Yvanyan E.A. "The White House: The Presidents And The Politics".  -Moscow, "The Political Literature", 1979, p.96
6. Rainov. B.  "This Wonderful Craft".  -"The Sofia Press", 1979, p.149
7. Dubenskaya L.   "Nadya Leger Is Talking". -Moscow, "The Children's Literature", 1978, p. 206
8. Mozalevsky I.   "The Modern State Of Artists In France". -Moscow, "The Academy Of The USSR Arts", 1950, p.60
9. Kalytina N.N  "The Tendencies' Struggle In The Modern Art Of The Capitalist Sates".                -Leningrad., "The Knowledge", 1976.
The Projection Of An Imagined Essence.

Creating a powerful industry of the newest art, America skillfully used in its interests the French achievements in the abstract and, wider, in the non-figurative art and those of the other European countries. It's admirable how America could globally compel the European culture representatives to be engaged in the violent self-destruction. "Be realists - demand impossible!". This beautiful French phrase, full of artistic charm, expresses the despair of the Europeans who begun to see clearly, feeble and exhausted, disabused of revival. Do you remember a horseman, rushing in a tiny room on Rene Magritte's painting? This is to be a quite gloomy allusion of a deadlock state of the modern European art. But the bet on this "horseman" brings to America the fabulous enrichment.
In 1929-1930 Seuphor issued in Paris the magazine "Cercle et Carre". The abstractionists exhibition was held under the same name, where forty six artists including Mondrian, Kandinsky and others participated. In 1935 there was a new group "Abstraction - Creation", where Vantongerloo and Herbin played the main role. They issued the magazine with the same name. When in 1936 the last number of this magazine was published, Europe "was in a deep marasmus", as Michel Seuphor said. It was caused by the abstract painting and supporting theories. That was a state, when obviously new reality researches, like Vasiliy Kandinsky, Kazimir Malevitch, Marcel Duchamp or Piet Mondrian, all were influenced differently by various occult theories, including the theosophy, popular in the beginning of the XXth century. This state could be called as a "Hero which is more interesting than the novel". Serge Charchune, the surrealist, the writer and the artist, the Russian emigrant living in Paris, has quite precisely defined by this phrase a parity of the European between-wars reality to the European art theories and practices. The European reality appeared to be capable to cause stronger, saturated creative pulses, than, for example, the Malevitch's  statement that "the excitation is an abstract state".(1) Artists felt sharply arising falseness. Although not everyone could recognize its presence, especially after their speculative abstract theories were put in a basis of the concrete, financial enrichment practice.
The problems of the abstract art, arisen in Europe, were caused by the speculative statements of its supporters. They told about the ostensibly existing close connection of the scientific discoveries (atom splitting for example) with abstract painting ability to carry out the aspiration of the "indefinitely fine matter" to the spirituality, as it was defined by Kandinsky.
Europe steadily resisted an onslaught of numerous formations seeking for the new spirituality. The various followers of Mrs. Blavatskaya, Rudolf Steiner and other gurus, messengers of the new gold century of the mankind tried to create a ground for the new civilization. An initial point of the new civilization's birth should be a human's statement on a way, free form the sensual thinking. Steiner proposed human to change "facts of the highest world, received by the spiritual science, into his consciousness property" instead of having a sensual thinking, which was a basis of creative transformation of real world into symbolic world, the eternal and inexhaustible source of the art. Steiner's interpreters, including artists, were induced to seek for the new vision by following Steiner's intriguing statement: "these facts cannot be observed with the physical feelings' help". (2) Do you remember the remarkable expression "I see this way!"? This expression resisted all reproaches, that a drawn man had a short shin or "small of a nape". In similar statements there was the new vision claim, - theory that each man creates his reality totally different from others.
Artists started to appeal for the spiritual sight, transforming their works into a formal occasion for meditations, wherein a "pure mind, as essence, alive in itself" begins to work in a man. (3)
After almost a hundred years it's obvious, that similar spiritual sciences are far from being harmless. Applicable, they are capable of being a basis for the fine art gambling. It's possible because of imaging claims of abstract works, according to these theories. Thereof the European abstract art, being to the end of the 20-s - beginning of the 30-s in an extreme degree of the theoretical and practical exhaustion, has received a new opportunity to exist in America, which supported it financially. By paying attention on the American millionaires' appreciation of Kandinsky or Duchamp we can understand what exactly in this art were the most interesting for them. Only they can explain the most clearly, what was the secret of the popularity, won by the supported art in the USA up to beginning of the World War II.
In A. D. Chegodaev's book "The Art Of The USA From The Independence War Till Nowadays" there is one eloquent explanation of the American elite's preference to this art tendency. It's even actual today. All talks about reasons of the Americans' support of a new trends destined to replace figurativeness in the fine art, make this topic just more unclear without this explanation. "For example,  Baroness Hilla Rebay, the president of "The Nonobjective Painting Museum" in New York rather unambiguously commented on the modern art's tasks in opposition to the blurred and foggy uncertainty of some too high-minded critics and aesthetes. (The banker Guggenheim, whose collection was a basis of this museum, bequeathed the huge sums of money on the anti-realist art's support and propagation). Respectable Baroness announced, that this "non-objectiveness" embodied in Kandinsky's and Shagal's painting on exquisite festive walls of Guggenheim's museum, represented the "great historical transition from the materialistic to the spiritual". That artists' "intuitive feeling of the universe order" was the "special God's gift to the chosen". And it didn't require to be clear or comprehensive. And it came out like a flower, regardless to the criticism". The more so, that common people hadn't any right for the national cultural glory, which they complacently use. And this glory "was created by just a few great persons". (4)
Feeling of the universe order, new vision, gift to the chosen... The desire of the new religiosity stands behind all this, releasing grabbers from moral obstacles, like any traditional religions, which prevent them from transforming a human factor in the quantitative one. As a matter of fact, these pseudo-scientific theories hide a golden bull worship. It would be ridiculous today to pray overtly to a statuette, representing a golden bull with phallus stuck out from bull's front.
In 1912 the Kandinsky's fundamental treatise, called "The Art Of The Spiritual Harmony" was issued. А.А. Sydorov, the famous Russian historian of art, who knew Kandinsky, recollects, how the artist applied his theories in practice. His working "method" was the following:
"...A workshop. A quite serious, elderly man is in front of the easel... A cloth on easel is pure white. Kandinsky holds in one hand a large palette with a squeezed paints, in another hand there is a brush. He acts on speaking: "It's necessary to deny everything... Here: I close my eyes, put a brush onto the palette... Let a brush take a paint whichever it wants. Let paint be grasped off a palette by a brush. Let no artist, but his tool and his material define the picture". And with closed eyes, with his habitual gesture Kandinsky puts a dab on a cloth (he was a kind of mystic and identified himself with "taumahourg", i.e. a mage)... Then he opens his eyes and exclaims with curiosity: "Ah! White! Blue!" (5).
Kandinsky was searching for the "disguised" spiritual form's voice, cleansing the painting from all visible and external. And Marcel Duchamp developed the theoretical basis of the new vision. A science discoveries should confirm the faith in other world's existence, represented then as the fourth dimension. Let's note, that Duchamp's forming of the aesthetic positions were influenced by the occultism and the theosophical concepts widespread in the beginning of XXth century. A short before his death, Duchamp had confirmed, that he had been interested, for example, in the alchemy during all his creativity period. He actively used every possible metaphysical speculations in the experiments on new vision development. In the letter to Breton he wrote, that his object "The Large glass" included a projection, "comparable with a projection of an imagined essence" from the fourth dimension into our three-dimensional world, and that due to the use of a glass plane there was achieved a re-projection of this three-dimensional space on a two-dimensional surface. (6)
In the USA, certainly, not for these ideas Duchamp is still taken for the greatest XXth century's artist, who have opened a new horizons of the art vision. His researches similar to those, that Duchamp carried out during his "Large glass" work, (or, as he also called this object in 1921 - "to be the seen by one eye (from the other side of the glass), by nestling to it within one hour"), could possibly fit a marasmus state, what was the European art's situation before the war characterized by Michel Seuphor. Duchamp was the first who has managed to combine the interest of the occultism, so esteemed in America, with a serial subject transferred by him into the category of the art works, i.e. the "readymade". That's why he has deserved unconditional reverence of the American and later the modern European art-critics. Duchamp has managed to understand differently and to transform a material, to combine the pro and contra by collision of a representational and verbal subject's image. This way he has given for a serial subject (the American goods) a mystical coloring, - that was a true greatness of Marcel Duchamp.
It's typical for the American pragmatism to proclaim true everything that is possible to adapt to all what is important for this pragmatism in the given moment. All this should be taken seriously, because it approaches the goal and allows the working for it. How have the traditions been collapsed till now? By a science, for it's freedom of discussion and statement. The new science, called so by the various occult theorists, should be reoriented from the sphere of potential industrial application of researches results on the new task - the distribution and the legitimization of the irrational morals and mysticism. The metaphysics' phraseology had a significant place in this process. And works of this tendency's artists became a visible metaphysical manuals. Duchamp was the first among them.
The genre's limits appeared very soon, what caused artists' displeasure because they hoped to find in abstract art a boundless opportunities for the avant-garde theories application and the creative potential's development. And although there is an opinion, that the Russian avant-garde of the 10-20-s was strangled by the totalitarian regime, actually that tendency, achieving its semantic limits, has created preconditions for artists to return to the figurativeness. It is necessary to notice, that outstanding representatives of the Russian avant-garde such as Malevitch, Tatlyn, Rodchenko, Stepanova and many others have undertaken more or less successful attempts to try themselves in the figurative art. Their foreign colleagues couldn't do the same because of a rigid contracts, binding them with galleries. The creative credo's change wasn't in the plans of the merchants making profit on artists' names. In the avant-garde there was an impressive theoretical part besides representational one. It was difficult to get rid of both of them at once. But the necessity to turn to the realism was dictated by the exhausted creative opportunities of the avant-garde and the modernism as a whole.
Certainly, the art dealers didn't wish to put up with a threatening loss of enrichment by the modernists works' gambling. Therefore they actively start solving a problem of the America's role in the distribution of its influence on the modern art development and its market. They had to do that in the conditions, when Europe was taking measures on easing the "Versailles Treaty" burden. And as a result of these measures - for about  fifteen European countries, and not just the USSR and Germany, had the authoritarian regimes. In these conditions the America's desired influence on Europe in that degree was rather problematic. Modernists, paid by the Americans, on behalf of their popularizers like Kandinsky, Duchamp, Mondrian and Seuphor, couldn't make anything better but to announce about the deep European marasmus and to set off to America for the preparation of the new victorious modernism establishment in Europe.
The Association of Abstractionist Artist appeared in the USA in 1936. It should win the palm from the Parisian school. In the same year Alfred Barr wrote a book "The Cubism And The Abstract Art". That book substantially promoted the popularity of the similar tries in America. It won't be exaggeration to say, that the abstract art and the American capital union was marked that year.
In 1937 in New-York the "Museum of Modern Art" was opened within the Rockefeller family's help. Alfred Barr was the Museum's director.
Already in that time in New York, in the Plaza Hotel there was an exhibition of the millionaire Solomon Guggenheim's paintings collection, included the works of Picasso, Braque, Sera, Klee, Kandinsky, Delaunay, Shagal and even the Lisitzky's work. In 1939 on the basis of this collection there was a new, special museum of the abstract painting - "The Solomon Guggenheim Museum".
That was the time of the Roosevelt's "new era" criticism. It was accused of the bureaucracy and the suppression of personality by the all-powerful state. The abstract painting lived parasitically on these tendencies. A self-expression freedom free from any canons, was demonstrated not only as an abstract work, but no less by artist's behavior. It involved in the new art a set of ambitious persons, it promoted mass passion for the abstractionism in the nearby-art ambiance. But only during the war and soon after it the abstract art in the USA has got a complete power. The work of Moholy-Nagy, who based the new Bauhaus in Chicago, recedes to background in comparison to the activity of the American abstract artists society, sponsored by Guggenheims and Rockefellers.
The American art expansion on the European continent went parallel to establishment in America of the new "objective reality" art. The Americans should believe, that the modern art looked so not because of some rich families have chosen these art trends for gambling, but because it was the most advanced and could be a national pride subject. The Americans' belief that a rich man was always a clever man was at the right point. The rich, investing in the new just gambled on desire of the freest country's citizens to dominate in all human activity spheres. Certainly, as well as in all the rest, the Americans' superiority in the modern art was based on powerful advertising.
During the World War II the USA became the shelter for many ultra left artists, who escaped from Europe, and who also contributed to the creation of the "innovation" atmosphere. The official American propagation took promptly in consideration, what benefits gave the opportunity of such a union with the so-called avant-garde. Representatives of the secret services started working closely with the influential bank capital on distribution of the modernism's ideas all over the world. Rockefellers and Guggenheims were the bright representatives of this unprecedented campaign. After the World War II it took a greater force, having no obstacles on the part of the authoritarian regimes, brought to a minimum number in Europe limited to the socialist camp zone. Absolutely all the Western Europe was boundlessly dependent on the USA. Today there is an opinion, that the noble American soldiers relieved Europe not only from the fascist plague, but also haven't given to the Soviet plague a chance to spread all over the continent, by stopping the Red Army in the Eastern Germany. It's true that the beginning of the USA's hegemony in Europe determines events happened 50 years ago. America also needed the myth about the great savior mission to conceal the barbarity of the English and American armies, which were destroying and plundering the European monuments during the war. In the Rainov's book a French artist recollects the Americans who "have declared with impudence, that they have already taken everything from Europe, what was possible to take, including its museum values, and didn't require any more of its lessons ".
Really, America transported from defeated Europe not only the Gestapo archives and the secret development of a new German weapon, along with the scientist doctor Brown, but also America was taking everything what could be transported. Today the Europeans, being in the USA's tenacious friendly grasp, are imposed with an idea of the noble America's mission of clearing Europe from the fascism and communism and of its disinterested after-war help to Europe. But was it really so? It's necessary to look at the history separated from us by the half-century period.


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1 Malevitch K.  "The God Is Not Thrown Down. The Art, The Church, The Factory". - Vitebsk, "The UNOVIS", 1992, p.9
2 Steiner R.  "The Sketch Of The Mystery Science". -Moscow, "The Ego", 1991, p.206-209.
3 The same source, p. 206-209
4 Chegodaev A. D.  "The USA's Art From The Independence War Till Nowadays". -Leningrad. "The Art", 1960, p.94.
5 Dyakonitsine L.F.  "The Essence Of The Modernism".  -Leningrad, "The Artist Of The RSFSR", 1975, p. 22.
6 Lukshyn I.  "Duchamp. The subject And The Idea". "The Art", 1990, № 5


The Stealing Extent Of Europe.

During the nazi occupation the European antiquarian market has blossomed and has reached its apogee. The leading Parisian auction "Hotel Drouhot" began the sales since September, 1940 and sold one million culture pieces in the first occupation season. The next 1941 sales have beaten all the previous European records down to 1824. As was written in the European newspapers: "At last the Parisian antiquarian market does not require neither the Jews, nor the Americans to exceed sensational prices". In the day of the Wehrmacht's Norway intrusion famous Peggy Guggenheim has moved to a new luxury apartment on Vendome square in Paris, to make her collection of the European avant-garde look more advantageous. In the day of the famous German air-bombing of Paris on 3 July, 1940 she made remarkable purchase - she bought the Brancusi's sculpture from the author himself. Even during the "severe nazi occupation" of nice France tireless Peggy diligently carried out her "pledge" - each day to buy a painting. It's an error to think, that Peggy Guggenheim quit the modernism, influenced by the European classics. There are no any aesthetic predilections here, because there were ordinary commercial operations, taking any work of art, irrespectively to stylistics for an object. Everything capable to bring the prompt benefits was aesthetically acceptable. At the same time she was investing in the surrealism. In 1942, Peggy issued the book in New York called "The Genesis And The Perspectives Of The Surrealism".
Nobody in Europe in the beginning of the military conflict could expect, that the main danger to the European museums would come from the Atlantic coast, from the "English and American saviors". In the "War from Atlantic" period the European museum workers had neither time, nor sufficient means for rescuing cultural monuments. Often museum workers of the occupied countries requested and joined the German soldiers to move the museum collections of Holland, Belgium, France, Italy into the new refuges closer to the German territory or inside Germany and Austria. The German soldiers were saving all-European culture monuments - these were the motives of such a strange occupants' actions, from the point of view of the Englishmen and the Americans, who at that time took no shame to take the occupied territories' property. These works found out by the victors in defeated Germany have created a psychological image of the "German robbery of the European museums".
All the Europeans knew from school textbooks, that the Englishmen have plundered the half-world for their museums' enrichment. Certainly, they did it not because they loved the art, - museums in this case are only an iceberg's top of the fabulous values. England needed treasures to establish the economic control over the Continental Europe and over the entire world. Today's worship of the democracy's cradle - England, with its guaranteed property rights, is based on a crafty blind sight on the violent and non-economy ways of an initial capital purchase. It's enough to declare with all definiteness, that the property right isn't the right to capture others' property, so that "time of the whites" praised by Kipling, can look like a burden of values stolen by the Anglo-Saxons worldwide. The admiration of the English industrial revolution's tempo and scale would cease, by recollecting, that it began right after the English robbery of India. After the Calcutta's victory in 1760 the Englishmen have taken out from India gold, diamonds and other values for hundreds of millions pounds. This all played a role of the so-called initial capital. And the year of 1762 was known as the beginning of the industrial revolution.
During the French revolution the Englishmen organized a special companies for the large-scale antiques purchase from the French aristocracy. And in Italy before the Napoleon's armies had come, there were constantly emerging English merchants, buying values in the "dead zone" between two armies.
Napoleon, motivated by the Europe-centralization idea, wanted to keep Europe as the center and model of the world. When his was defeated, France played a role of the English province. Then there was the Atlantism phenomenon of the mercantile civilization with its mercantile concept of values. It's essence in a possibility to transform gold, as primary value, into any other value: moral, philosophical, cultural.(1) Tender-hearted mere talkers should remember - a term "values, common to the mankind" implies absolutely another civilization, hostile to all the rest of the world. This civilization takes Russia as well as Europe for an object of its own enrichment and for nothing more.
The Germans being well aggressive, were guided by the other concept. Bismarck himself has undertaken the responsibility for the Continental Europe protecting it from the globalization policy of England and the USA. He continued the Napoleon's affair and that's why after the German Unification first thing that he made was to attack the mercantile and banker France. The Germans always see their superiority over other European nations not in their treasures' amount, but exclusively in their extraordinary force of spirit inherited from the Holy Roman Empire. Completing the Europe's unification mission, the Germans couldn't rob the European territories as "their home" for cultural values. When the Kunstschutz office was opened in Paris, the French museum workers gave to the nazis the list of 350.000 masterpieces from the Louvre and other museums, which were hidden in refuges all over country. Wehrmacht exposed the armed guardians in the given locations to protect the French cultural values, and during a war time all pieces were intact. The Americans knew it. Files of the International conference "The Military Loot" (New-York, 19-21.01.1995), contented a work of the American Lynn Nicolas, where she exemplified careful German attitude to the European culture monuments on the occupied territories.
"Nothing could be more contrast in relation to the nazi's actions in Poland, than a refuge, constructed by fascists to rescue the Dutch museums' exhibits, including famous vast Rembrandt's painting "The Night Patrol". It was the first class concrete bunker with an air conditioning and "disguised" as sandy dune".(2)
The German scrupulousness in Europe was unimaginable in such concepts, as the complexity of military time with its deprivations and costs. They paid the European antique dealers' accounts at high prices and did it promptly even in June, 1944, when the American tanks were very close to Paris. They haven't broken the European economic system, hence, there were many ways of money and collections transfer. The bank operations in occupied Europe were rather independent, The "American-express" functioned enough reliably. This gave Peggy Guggenheim a possibility to enrich her collection.
The Englishmen and Americans behaved absolutely differently in the Continental Europe. The Europe centralization's enemies, they were treating Europe as one of the regions, where they could apply their vital interests, as the place of unlimited enrichment. The World War II resulted to the European world model destruction, that has given a freedom to the USA and the Great Britain and opportunity to create a new European model of the world. The New Trade Order was the basis of this model, on words of Jacques Attali. In 1930 the New Trade Order center has moved to New York. That makes evident the sources of "new nomads" barbarity of the Englishmen and the Americans, with their bombardments and monuments' robberies of the European cities, unjustified in that battle conditions.
During the World War II, as soon as the Allies have descended in Sicily, Berlin radio transferred immediately, that two vessels with "cultural values in England's favor" were already set off to the British museum. There were leaflets issued, representing Negroes in the English-American uniform, chatting: "We go to Europe to rescue the Culture". "And what is the "culture", Jimmy? ", or posters showing a Negro, toiling a Venus from Mylos with her waist, where was written: "Cost - $ 2".
The "carpet bombing" of cities, invented by the Englishmen, were destined during the war to destroy totally all alive, including everything created by man. It's testified by the fact, that English H.Q. during the bombing operation of Dresden in 13.02.1945 took into account their pilots' "human weakness". Therefore they were deceived: crews were given the false bombing maps of Dresden, with changed objects' names. There was "the military factory " instead of "the museum", and "the SS barracks" instead of "the hospital" . After one ordinary bombing operation in Dresden there were more people lost, than in Hiroshima and Nagasaki after the nuclear strike.
12 November, 1940 - the Englishmen started bombing Italy.
Polish researcher Jan Sweczinsky in his work "The Robbers Of The Culture And The Art Falsifiers", published in "The Art" magazine in 1990, wrote about the Santa-Maria della Gracia monastery in Milan bombed by the Allies' aviation. The monument where was Leonardo da Vinci's "Secret Evening" gone through the American bombardment.
30 May, 1942 - 1000 English planes attacked and destroyed the most ancient part of Cologne.
2 March, 1943 - Rome undergone the American air bombing.
15 February, 1944 - the Englishmen dropped on Berlin during a single attack 2500 tons of bombs.
15 February, 1944 - the English aviation destroyed the ancient Italian monument - Monte Cassino monastery.
London radio informed, that in April, 1944 on Germany 80000 tons of bombs were dropped. (3)
A facts of the Englishmen's and the Americans' self-destruction during air-attack were just a weak consolation for the Europeans. For example during the operation "Cobra" at the end of July, 1944 allies bombs covered advanced parts of their own army. One of the bombs stroke in the Head Quarters and smashed in pieces the American ground forces commandant, the general-lieutenant McNeire, who stood himself for massive bombing strikes.
50 years later in March, 1995 the Europeans, being in the NATO's structure, began bombing one of the European countries on the Balkan peninsula. The Americans fought against the Europeans with the Europeans' own hands.
A social hedonism cult, universal style of modern America has transformed from a stability's menace into the overt aggression against the country which doesn't wish to accept as a basis of its existence an implicit execution of any American requirements. We witness today, that behind the former propagandist horrors about the American culture's destructive character or so-called "Americanism", there is the real destruction. And this destruction can begin in any part of the world, where there's disagree to enter in the global community on the terms of replacement of the cultural and national values with the international consumer goods.
It's quite known that American H.Q. used the Sicilian Mafia during the Sicily descent. In the confidential governmental document coded 3701x/9867 on 28 April, 1943 American troops were recommended after the descent on Sicily to establish contact with the secret radical groups' leaders, the Mafia, for example, and to render them a possible support. Right in the first days after the descent American officers met the Sicilian Mafia head Calo Viccini. The American military authorities have nominated him a mayor of Villalba city and permitted to the Mafia members to carry weapons. Soon after that in half of the Sicilian cities the Mafia members and their proteges became mayors.(4)
This contact with criminal world wasn't casual. It's typical method of the American administration to progress their far-going interests in intervention into other countries policies. People, whose cultural level induces them to imitate the gangster or Mafioso image, as the new hero of our time, have become conductors of the Americanism. In this sense Italy in 1943 scarcely differs from modern Russia.
As soon as the war ceased, the English and American museums' directors rushed in Europe trying to buy for cheap masterpieces from the Europeans, devastated by war. The fear before the rich Americans was the main reason for many European countries to hurry to accept a new laws about a lock of the art subjects within countries. But what were these laws for full, big pals, rolling on Willyses along the dolly European towns looking for an easy loot? The laws were an empty sound, which the winners simply didn't hear deafened by own delights from the opportunities "to free" the territories, occupied by them, from the cultural and material valuables. We should add, that right after beginning of the German territory's division in occupied zones, the USA Congress has sent in Germany the special Roberts' Commission. This Commission explained to the generals, that while giving any territory to the Russians, all the art works, stolen by the Germans from any countries, should be transported to the American zone. Declaring their adherence to the international law, the Americans actually showed a flagrant lawlessness on the occupied territories. The American position in 1945 categorically differed from the Russian one, because only the states, occupied by the Germans had the reparation right. The USA were automatically excluded from a sharing of the German cultural values, but contrary to this the USA worked more than vigorously in the loot sharing. Here they counted on their own forces. In such "battle" operations they didn't require the Russian help, unlikely when the Americans were praying for it during their defeat in Ardennes in December, 1944. Among materials of "The Military Loot" conference (New-York, 19-21.01.1995) there was a C. Alford's book "The Role Of The American Soldiers In The European Valuables' Theft ". In this book there was a statistics, showing that just in cases proved by the Court, from 1945 till 1962 the American soldiers have stolen from Germany 3978 art works. When in 1946 the Americans sent in the USA 8722 works of the German battle-pieces painters, every work had the rubber stamp: "This mark is the governmental protection against the probable future German requirements of return of any piece".(5)
The jewelry of the German prince Hesse family, estimated in millions of dollars, has never been found among the loot of the American military clique. The Americans plundered the "Hungarian golden train" containing many Hungarian aristocrats' property and the state Hungarian treasury. The American officer, who was entrusted to protect the historical values of Wedlinburg's monastery, easily sent them directly to Texas, to his home. The German government has assessed just one book from this collection for about $9 millions, what can illustrate a possible cost of all the stolen. Already in 1977 in the Philadelphia Museum they exposed an armor, stolen by an American soldier from German museum already after 8 May, 1845. The Metropolitan Museum has bought stolen gems and was compelled to return them to the Bavarian State Museum, on terms, that Metropolitan's name would never be mentioned in that case of return of these subjects. (6)
Certainly, "war is war", and in any army there are those who wish to take advantage of losers' weakness and to reap a profit at their expense. Taking this into account, the European countries in wars of XXth century were guided by the "Hague Convention On The War, Laws And Customs" of 1899 and 1907. The Convention's settings, accepted on the reciprocity terms, defined cultural values as a private property, not dependent on, whether it's state property or has the concrete owner. The English and American actions in occupied Europe broke all illusions about inviolability of the private property. As soon as the circumstances were favorable to violate this property with impunity, the Anglo-Saxons violated it by all means, whether it's India, Latin America or the humanism cradle - Europe: the mercantile civilization laws conflict to any values common to the mankind declared in the USA. That's the double standards policy.
The robbery cases among the Soviet soldiers in Germany and purposeful export of the German property by the Allies are not comparable. The American soldiers were easier to reap a profit in occupied Germany. The Russians always were under the vigilant supervision of political leader and SMERSH. And the Americans possessed a transport, mail, money transfers and boxes with the most valuable currency - American cigarettes. The well-known American writer Kurt Wonnegute, the former war participant, had so rich impressions in Germany, that almost in each his work he finds an opportunity to say against the barbarity both in relation to the people, and to the culture. In famous book "The Blue Beard" a hero, former soldier recollects Europe, devastated by war: "... During our trips through frontier lines we really met people, who, being in a desperate situation, sold the art works. And some perfect things we have bought for a dirt-cheap".(7) He speaks further, that he bought the European artists' works "for few dollars, bar of chocolate or nylon socks.." The flow of smooth dealers with inherent sense of personal benefit, with check-books, with the corporations behind, rushed in Germany on behalf of the American militaries. There was a popular proverb among the American soldiers: "One fights, two other plunder". In this cynical revelation there is a principle of the USA's military doctrine, which was going to assert the "vital interests" anywhere in the world, where it's possible without especial losses to become richer making the war with another's hands. The human rights, the law are recollected, when the law is already established.. by the Americans themselves from the position of force. Jacques Attali, the chief of the European Bank of Reconstruction and Development explains this military proverb in his book "The Lines Of The Horizon":
"The Authority is measured by controllable money quantity - in the beginning by the means of the Force, then by means of the Law. Thus a "scapegoat" is the one who appears to be deprived of money and who threatens to the order, arguing its way of distribution".(8)
Who is now that "scapegoat" menacing today the usual order stated with the American efforts? As it appears, there are still plenty of such "malefactors" in the world. Otherwise, the USA government wouldn't be so involved with a propagating role and world's attitude to the country as such and its goods in particular. The USA make it clear during the "Voice of America" emission, that as soon as goods from America or goods made on American means appear, there are automatically notorious vital interests of the American producer, which are protected regardless to everything.
The art, what we are and will be speaking about, is the goods protected by the USA government. The television and the cinema are in the list of products and goods of the USA industry, and the film-production is the second clause of the American export incomes. It's very important, because a demand for American goods grows among the countries-consumers of the American cinema. With this all the USA don't conceal, that they don't take into account any religious, national and cultural customs of the countries, where Hollywood production is being exported. Neither they hide, that contrarily, they rigidly follow their commercial interests.
A Producer David Puttnam, published the book "The Cinema And The Money", had a report in the Congress about the American film-industry losses because of the piracy copies. The USA is much more interested in the protection of the intellectual property bringing billions of dollars, than in protection of the ephemeral "human  rights". Being well informed about these rights violations in China, and thus blaming China, the USA nevertheless don't limit trade relations with it, and even support it by giving to China the most-favored-nation status. China was compelled to close 20 of 40 CD piracy manufactures. But China can't afford legal buying licensed software and Hollywood films.
Except for China, also Iraq, Serbia, Cuba and Russia, the former USSR are "scapegoats", where the USA see the potential threat to the established order of power and money distribution. In Russia there are still the traditional concept of power and money distribution. Well, if at the New Trade Order everything is only in financier's hands, so in traditional system, still practiced by Russia, a financier can't personally solve the power and money distributions problem, because he has to share the power with a tsars' or priest's figure. (A word tsar isn't necessary to take in quotation marks, because in Russia since democracy was announced in 1917, the government always actually was in hands of one man who gathered the unlimited rights). Certainly, the USA can't put up with it. The Second Front opening has happened only when the Americans and the Englishmen have understood, that the USSR itself was capable to reach the Atlantic coast. To limit a threat to the monetary civilization's existence, on behalf of the USSR, to recover the financial arteries, and at the same time to use an opportunity of a front robbery. These are the USA's and England's motives of the Second front opening.

The artists nonetheless live on ground, despite of declared belonging to the outer world essences. Their persistent unwillingness to notice, what their imaginary social neglect turns to, is at least unclear. Their refusal of active interaction in public life allows the politicians seizing culture to satisfy their own mercantilism.
When in the beginning of the "cold war" it was necessary to create "an enemy's aesthetic image"(9), the realism was declared to be an anachronism, a chains, preventing a deep artist's talent from being revealed. In order to confuse realists Sigmund Freud's outdated theory and Vasiliy Kandinsky's painting theory were advertised as a scientific substantiation of the new creativity horizons' opening. And along with the new French philosophers, till now used as a bullet-proof armor, ostensibly capable to protect from the criticism of an inconsistency of the statements about the non-alternative modernism. These names (G. Deleuze, F. Guattari, Derrida, Michel Foucault and some others), more likely, make those who try to apply them in substantiation of natural cultural changes in modern Russia, smile themselves. The situation painfully reminds a "butt impact" - the citations from Lenin, Marx and Brezchnev at first lines in works of recent art-critics, sociologists and psychiatrists, making a reader's will of critical perception, comparing heard and seen, paralyzed for a long time. So that reader could be taken without firing a shot.
The abstract art remained some time after the Paris liberation in a non-conscious state, typical for the 30-40-s. The Kandinsky's posthumous exhibition  in "L'Esquise" small gallery caused even a public indignation. And there's nothing strange in it, because a squall of the American propaganda machine hasn't yet fallen upon Europe then; because the European art traditions, free from transatlantic capital, have been yet strong.
Soon, however, the abstract art's destiny has developed differently, and here were the reasons. The thing was, that the fine art, even being deformed, was capable to transfer some definite contents, unlikely the abstraction. Europe in the end of the 40-s was covered with the democratic rise. The communists were powerful in France and Italy. This rise was typical for the participation of the known artists and culture figures. Bourgeois press' efforts were directed against this liberty. Artists working in a realistic manner like R. Guttuzo, Fougeron, Taslitzky were also attacked. Thus, the abstract arts appeared to be necessary not only commercially, but also ideologically. It has acquired powerful patrons and at the end of 40-s has become even the banner-symbol for the part of the bourgeois intelligentsia. Besides, the Western Europe has been decisively influenced by the fact, that the American market has completely recognized the abstract art. Immediately a majority of the figurative artists have felt the necessity to abandon their trend and to join in the crusade of the abstract art.
The Drouhin French gallery had been already supporting this new tendency since 1945. Two large exhibitions have played especially important role. First called "L'Art concret" was opened in 1945 in gallery Drouhin. There were exhibited the works of Kandinsky, van Doesbourg, Hans Arp, Robert and Sony Delaunay, Magneli, Herbin and others. The second exhibition was held in 1946 organized by "The Salon Of The New Realities". By the name, the abstract art wanted to look like the realism (the new reality). The realism here was understood as the reality of common ideas.
Since 1947, with the beginning of John Foster Dalles' activity at the USA's State Secretary post and since that year the CIA creation, a bit later chaired by his brother Allen Dalles, investments in the leading European abstract art establishment were made regularly and in significant sums. These men's active use of the art to uphold and to progress the American economic interests was some kind of the know-how of the American policy.

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1. Gemal G.  "The Neoleninism In XXI Century". A Lecture. 1998.
2. Teteryatnikov V.M.  "The Problems Of The Cultural Values, Displaced During The War". -"The Observer", News-publishing agency, 1996, p.19
3. Teteryatnikov V.M.  "The Problems Of The Cultural Values, Displaced During The War". -"The Observer", News-publishing agency, 1996, p. 23
4. Geevsky I. A.  "The Mafia, The CIA, The Watergate". -Moscow, "The Political literature", 1980, p.40
5. Teteryatnikov V.M.  "The Problems Of The Cultural Values, Displaced During The War". -"The Observer", News-publishing agency, 1996, p. 67, 72
6. Teteryatnikov V.M.  "The Problems Of The Cultural Values, Displaced During The War". -"The Observer", News-publishing agency, 1996, p. 67, 68
7. Wonnegute K.  "The Blue Beard".  -S.-Petersburg., "The Variant", 1994, vol. 1, p. 252.
8. Le-Valoy  "Count The Beast's Number (Remark On Jacques Attali's Book "The Lines Of The Horizon")".  "The Elements", 1992, № 2. p. 4
9. Novikov T. "The New Russian Classicism. The State Russian Museum".  "The Palace Editions", Saint-Petersburg, 1998, p. 107.



Allen Dalles.

Allen Welsh Dalles was born in 1893 in Watertown. When he was young he studied the law. He began to learn about other countries when in 1915 he became the teacher of English in Allachabad, India. After that was Europe. Within ten years, since 1917 till 1926 he was a staff of the USA State Department. In this time Dalles worked in the American consulates in Vienna, Bern, Berlin. Soon he was appointed as the chief of the Middle East State Department. Since 1928 Dalles was a co-owner of the lawyer bureau "Sallywan and Cromwell" founded in 1911 by his brother John who was five years older. The bureau was located on the Wall-Street and - attention! - represented the interests of "The Standard Oil Of New-Jersey", the largest Rockefeller's petroleum company. "The Standard Oil Of New-Jersey", the biggest global monopoly, is the core of the petroleum Rockefeller's empire. This name is one of the main in worldwide distribution of the Americanism expressed in tightest connection of the art, trade and war. Remember, that one of the directors of Rockefeller's "Standard Oil Of New-Jersey" Mr. Leo D. Welch said: "In this firm, as we call the world, America should undertake a crucial role of the main shareholder!"
In the following years Allen Dalles occupied the director post of the American "Banknote Company" and past of a member of the committee presidium of the "International Relations Council" in New York.
Dalles brothers skillfully used their personal qualities and current situation to get some millions of dollars capital. Up to the beginning of the World War II they already belonged to the American society elite. Their influence on the USA's internal and external policy became very significant.
Since 1942 on 1945 Allen Dalles was the personal representative of the American mission chief in Bern and simultaneously became the chief of the European Strategic Services Department (this institution - the USA intelligence body, was the CIA predecessor). In 1943 Dalles established contacts with Himmler, who was growing in power, and offered him his services and cooperation. The fascism was pleasant to him and Dalles studied application of this state organization model for America, certainly without Hitler. In last days of war he urgently arrived with his people in Berlin and rapidly searched for the materials: the documents confirming his long-term cooperation with the SS. In these confidential SS documents there was the essence of the Dalles' concepts about the American policy for the Eastern Europe:
"By Poland expansion to the East and by preservation of Romania and strong Hungary we need to support the sanitary cordon against bolshevism and panslavism". (1)
In the documents there was the following: "In political and territorial sense the German domination should remain without changes; its division or separation from Austria is impossible" and also that Dalles "fully admits the German industry pretensions on the leading role in Europe". (2) Documents named "The Dalles' Plan", were a basis of the American after-war policy, in spite of the fact that they partially have lost their privacy. The NATO's expansion to the East, the alliance's acceptance of Poland, Hungary and Czech Republic in 1999 are the eloquent confirmation of the plan's continuation and development.
In 1949 Truman signed "The Control Intelligence Act", elaborated by Allen Dalles.
When Eisenhower has become the president in 1953, Allen Dalles has been the CIA chief. John Dalles was in the rank of the USA State Secretary. The cabinet, formed by Eisenhower, the Americans named the "Businessmen's Cabinet". The representatives of the large companies become the ministers. The American one-sided policy was a consequence of this Cabinet's position which was in favor of the USA's financial monopolist groupings. That's why the Defense Minister and the "General Motors" president Charles Wilson has bluntly declared: "What's good for "General Motors" is ever good for all nation".(3) If "The Standard Oil Of New-Jersey" chief's statement shows the external economic rapacious monopolistic ambitions, the "General Motors" president's statement means, that the monopolies' internal interests have a similar nature. The CIA also served first of all for the monopolies' interests, having invested during the war and right after it billions of dollars in the other countries' economy. According to the American sources since 1946 till 1957 the USA foreign investments have trebled.
In this very period the reasons which have induced America to proclaim the abstract art as the unique modern trend were formulated. In the American art-criticism phraseology the secret services have introduced the thesis convincing the global community in the impossibility of creation and perception of "portraits" after having seen the horrors of the war. As the American art-critics asserted, a war has shown "no humanness in humankind". They spoke that with the beginning of the war the radical change of sensibility has taken place. The American artists then had a unique opportunity to glance at their irrational. The automatism technique or the psycho-analytic free associations approach was widespread".(4)
Jesuits' accusation of brutality concerned the Europeans. And it happened despite of the tactically senseless English and American aircraft's bombardments of Dresden, where were many thousand refugees from the Eastern German lands. The Americans reproached the Europeans of brutality when themselves have dropped nuclear bombs with all the consequences of penetrating radiation on the Japanese cities. With the same power the American abstract impressionism has become for Europe an aesthetic nuclear bomb. The CIA didn't regret to invest in its development and popularizing.

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Mader Y.   "The Gangsters Of Allen Dalles". -Moscow. "The Voyenizdat", 1960, p.36.
The same source, p. 36.
Yvanyan E.A. "The White House: The Presidents And The Politics".  -Moscow, "The Political Literature", 1979, p.202
Sandler I.  "From Pollock Till Nowadays. The Lecture in "A-Z". -S.-Pete, 24.04.1999.



The Trade Fetishism:
The European Cultural Reorientation

After the war in France in 1947 the artists, united in the "Salon Of The New Realities", had the special magazine called "Aujourd'hui art et architecture" for the developing and propagating their ideas. Critics Leon Degan and Michel Seuphor were the energetic abstract art propagators. Actually that was only a preparation of the massive attack on Europe from the part of the American abstractionism, which wasn't yet ripe at that time. But then the French thought that they were close to a new art apogee. Not so long before the "Salon Of The New Realities" abstractionists were demonstrating their paintings and sculptures in uncomfortable barracks at the "Paris annual fair" at the city-side, near Versailles Arch. Now these works were advertised in magazine and in a catalogue, printed on a luxury art-paper, containing 147 reproductions  of all the Salon participants' works. It all was in that time when paper in France was strictly controlled by the government and color-definitions and cliches' making were extremely expensive.
It's interesting, that the unprecedented publicity amount was a typical rise of the abstract art. The capital, installed in the art sphere has created there a new situation. As for the merchants, among these makers of art's destiny there were plenty of those absolutely alien to the art itself, who dealt before in retail socks selling like Woldemar de Morgulis, or those who were tailors like Petrides, photographers like brothers Manuels, sack suppliers like Van-der-Clip. Such a gallery owners supposed, that due to the gambling every young artist gets a possibility to create. This is the same cheating, as convincing everybody in the equality of rights, stated in the Constitution. It does sound nice, and besides all attracts those who loved themselves in the art seeking for fame and money. Not everybody obtained it, but the rivals amount gave an illusion of a competition. Many of them knew it, and guessed about gambling on the equality of art opportunities. But more and more artists stood into the line for the royalties, grants and public recognition.
The Harvard professor Rosalinda Krauss is the greatest postmodernism theorist in New-York. She criticized with exposure the myth about the unique creative reflection, i.e. what every man possesses, what gives him a right of hope to have his creative tries recognized by the society. She thinks, that a chase for novelty, principally important for the modernism, has a commercial base and is vigorously protected by those, who considers the fine art to be an investment sphere.(1)
I. Mozalevsky by exemplifying on famous primitivist Douanier (Customs official officer - Fr.) Rousseau. "Primitivist Douanier Rousseau always wanted to draw in more real manner, at least like Bouguereau. But merchants ordered him not to trespass the primitivism boundaries, and he obeyed". (2)
Actually, the artificial statement, that primitivists see the world as the draw it, isn't really justified. Tricky adherents of the different world seeing try to find an allies in children and in their works. But children unsophisticatedly neglect this authentic difference by their wish to draw in real style, and not childishly. Not the dimmed sight at the reality but lack of skills prevents them from drawing in real manner. Speaking about the primitivism and the child's creativity as a visual revelation or as a new expressiveness, means to encourage dealers, gambling on it. Well, this is actually up to the publicity.
Covered by the Paris-New-York cultural competition the American political and commercial structures were making revived modernism to penetrate in Europe. In framework of a cultural exchange there were few exhibitions held in Paris. In particular, THE USA TODAY'S ART in the Modern Art Museum in Paris (1964), and THE ART OF REAL IN THE USA IN 1948-1968 in the Grand-Palais (1968). Lorence and Zonnabend galleries in the end of the 50-s and beginning of the 60-s regularly exposed American artists. The Francois Mateillem's Decorative Art Museum stood to hold experimental thematic expositions, such as THE ANTAGONISMS (1960), THE OBJECT (1962), THE NEW TENDENCIES (1964) and others. In 1967 there were two organizations founded, especially destined for the modern art popularizing - "ARC" (Animation, Recherche, Confrontation) on base of CNAC (Centre National de l'Art Contemporain) located in Rotschild Fund building on Berryer street in Paris.  As we see the banks and private funds took the responsibility to represent and propagate the modern art in Europe.
Up to this time there was already published the Harold Rosenberg's book "The Tradition Of The New. 1959" and the modern art realized that it could have its own tradition. In the English, American and French XXth century's art science there are certain definitions of l'art modern and l'art contamporain statements. Both of them are the "modern art". The first one belongs to XXth century, mainly in 1900-1960. In this statement there is a connection with the universal avant-garde project, directed on the total art's transformation and by means of art - the world's transformation. The second one refers to the "current" artistic process of 1960-1990. The second statement erases a border between art, kitsch and life, completing the quit from the "work" and "construction", from the art as an activity of creating pieces concerning this very activity.(3)
Publicity and persuasion can do anything - this is a base of all trends, claiming about their modernity. A scandal, concerning the modern art emergence after the war, was inevitable not because this art was incomprehensible for middle minded man, but because a scandal was at "the primary project". The idea of this art was in the artist's behavior. An activity of a man with palette has become a symbol of all norms' neglecting. It announced in extraordinary manner about the individual freedom, possible only in the free society of the Western democracy, and that was a tip for the Soviets. But even the USA needed another individuality injection in order to balance between the traditional protestant basis and the pseudo-Calvinistic Roosevelt's governing settings. They have appeared when a fight against crisis demanded to submit personal interests to the disciplinary state norms. After the crisis a new symbol of freedom was required. And artist became this symbol, demonstrating himself and his impulsive and enigmatic actions. This kind of image couldn't appear at once. That's why the modern art popularizers turned to old collection of odious personalities.
In this sense the Marcel Duchamp's figure, the double symbol of traditional painting's death and of ready-made's father, who blessed the serial goods to be an art work. In France in the end of the 50-s nobody remembered Marcel Duchamp (he was an American citizen and lived in New-York during the war). Without the American help this avant-garde cult person wouldn't find a sympathy in France. He was reproached of the individualism and in the sermon propagation of art concept as "an escape to timeless sphere with no space"(4). The fine art, as it's well known, works with the space. These reproaches are understood, because Duchamp gambled on the possibility of penetrating by 3-dimensional art into the fourth dimension. He didn't follow the rule "to quit when walking away" . And he having violated the art  continued being an artist. "I prefer breathing, instead of working, - he said. And the French artists with moralizing objected him: "It's better to work, not signing, than to sign, not working." (5)
In Europe after the war it was almost nothing known about the Bauhaus (1919-1934), which representatives like Duchamp and other avant-garde adherents moved to the USA. The Europeans didn't consider an absence of these trends' artists to be a great loss. By the way, Walter Gropius, the Bauhaus' founder was compelled under the pressure of the cultural authority of Weimar (where in the beginning this school appeared) to move a school from the city, rich of traditions, where Goethe have lived for 63 years to less punctilious Dessau city.
We have to admit the resistance of the Weimar's citizens. Already in nowadays they have stood against Daniele Buren's installation, preferring to have a parking instead. This EU's gift could enrich  the festival called "Weimar - the European Cultural Capital -99". Habitants also rejected borders between the high art and applied art to be erased like in Bauhaus times.
Buren himself doesn't consider art to be applied. He is sure - his "stripes, dabs and black circles pretend to be the art demystification - the pure and simple new quality art statement."(6) It's also important that the artist's desired tendency to "demystify art", to free it from idealistic, political and religious trends for pure paintings, "when a painting cease being a mark reflection of the world (even if this reflection is gone through metaphor or symbols) and becomes the Witness of itself."(7)
The new art clears the place for the new religion. We have already briefly spoken about how it could be and why it was necessary. If an art piece stops being influenced by the ideology, politics and doesn't meet the religious and moral expectations, i.e. doesn't reflect a changing world, loses imaging ability, so it, representing itself, (in Buren's case it also multiply reproduces itself) becomes an applied serial goods. This approach really frees the art from the "mystification" (the modernists' term) in order to multiply modify its rest, external features, still called the fine art.
Weimar showed by its denying of the contra cultural works the vitality of traditions. It was justified, that Goethe's countrymen didn't want to see in their city a "dabs" instead of visible images, so it was one of the symptoms of the European return to the luxuriant green tree of tradition from the stale and dried occult avant-garde theories.
As for Dokumenta exhibition held in Kassel for the first time after the war to bring Germany out of the isolation, this exhibition have managed to turn gradually a little industrial town not far from the DDR frontier into the world avant-garde capital. In Darmstadt also with the American help there was the Center of Atonal Music created, known as the Darmstadt School. All these recent modern art institutes couldn't emerge in plundered Germany and weakened Europe without the sufficient investments and the American advertising. And moreover they couldn't provide in short terms the leading position of this art.
The creativity of Mondrian, who lived in Paris for 20 years, was ignored by the cultural society. In 1948, ten years after he left Paris, the trend, initiated by him was charged of hegemony. It was substantiated by the woken interest for artists already gone in the history (Mondrian, Duchamp, Kandinsky and others), and the press-media made this visible interest. But the press would never promote anybody with prepayment. The extent of this abstract artists' advertising was pointing at the order's execution - the new art distribution in Europe, with the European shape and the American content. The Europeans had to represent the first echelon of this art. After them it was possible to show the American samples. Certainly, the American cultural onset was to prepare a ground in Europe for the American goods selling markets. The Europeans felt the artificiality of secondly evoked interest to these artists, but they weren't ready to oppose anything of the similar extent. Hardly a worth competition with the Americans was possible, if in 1950 in France there was just 100 millions francs state budget given for purchase of old and new painters' works. Despite of a visible gigantic amount, this quantity was ridiculous, if we count, that a pair of American shoes made of so-called rest materials (stocked garbage, delivered on the Marshall's plan), cost that time 3000 francs! This money were put in the "re-qualification of a mental labor", what meant: to appoint all writers as chancellery scribblers and artists as publicity draughts men designers.(8) Everyone who knows what is a million of rubles in the middle of the 90-s in Russia sees clearly the feebleness of the European countries after the war. The USA having secondly enriched at the war during 30 years, felt in Europe as if they were the all-powerful masters.
The French overt protest against the Americanization was worth of respect - a refusal of participation in the Hallmark competition for $3500 premium. But not being supported by independent state policy these protests didn't have a decisive importance. Having used the achievements of European artists in creating the significant American style, the Americans had necessary settings to penetrate in Europe with their art and infrastructure. Now they could encourage the Europeans by different royalties, issue catalogues and monographs, - America hence had a leading role in the new art world and in the reality itself.
With the Rauschenberg's winning at the Venetian Biennial in 1964, equipped with the powerful publicity and protectionism the Americans weren't eased anyway. Their actions in the new art establishment in Europe have got a state level. Andre Malraux, the Minister of Culture in France, proposed modernists to go in for murals: Shagal - the Paris Opera house plafond (1963), Andre Masson - the Odeon Theatre vault (1964). He showed that the state command could be entrusted not only for the academic school masters. The modernism has acquired the official status.
A political situation changes after the World War II plainly ruined the traditional European attitude to culture. The new art path made an artist of the second half of XXth century to contradict with the national tradition and with the European culture. To substantiate the normality of such a state, there were works of the European philosophers, writers and public figures required, what actually contributed to the modernism's vigorous growth.
The Gilles Deleuze's and Felix Guattari's book "Anti-Edip" (1972) marked the beginning of the schizophrenic analysis, one of the trends of the postmodernist philosophic ideology. Ideas of the "new left" were infiltrating in the avant-garde. They were Theodor Adorno, Herbert Marcuse, the social aesthetes of the Frankfurt school. The new original critical vision was being formulated. In 1967 Marcelin Pleynet published in the "Lettres Francaises" a set of articles about Pollock, Arshil Gorky, Mark Rothko, Frank Stella.
Regardless to details, we should notice, that among all this galaxy of the postmodernism theorists there wasn't unanimous conviction in the leading role of such a trend. Contrarily, an infinite split principle, employed in the beginning of the century by Paul Filonov, who called it analytical and transformed it to the radical forms of pathology, this principle was pointing at the taste's degradation menacing to the European culture. Theodor Adorno wrote about it in 1938 in his work "About The Fetishist Character In Music And About The Regress Of Listening"(9). This work remains urgent. And if we replace the "listening" with the "seeing", so the image of a degradation of taste and the visible perception becomes evident. It's important, that Adorno defines causes of the general culture regression, binding them with the serial goods production, and with that a principle of serial production is put in the base of the creativity. These are pure economic principles, which form the art work evaluation with invested means and trade marks - such as artists' or collectors' names, prestigious galleries and museums, auctions and funds turnovers.
Adorno writes, that the 'musical fetishism' idea cannot be psychologically substantiated. It can be explained only as a social-psychological phenomenon, emerged in a process of the capitalist society's historical evolution. The musical fetishism - is just a particular case in the whole process of world-making as a subject.
In music the trade fetishism's specific features are that "exchange value and consumer value replace illusionary one another". As the result, a listener cease thinking of a "whole" and turns into a paying buyer; the taste becomes controllable, because from the serial consumer goods production everyone is offered the same; the orientation on the different target markets becomes possible;  art works are being worn out because of the reproduction, and turn to in the conglomerate of ideas, imposed to listeners, so that they don't perceive the art as a whole by their mind and senses; an art work is mixed as a sort of pot-pourri, best points are taken out from a whole, and thus a sense is being lost; a performance is worked out, so it becomes practically identical to others; one-variant interpretation is employed, that permits to replace an actor with mechanical work; there is a kind of the fetishism of conductors and performers, who on having acquired the name get also the prestigious "sign of quality", and no one thinks this time, if they perform well or not that good at all.
And what do we think about, when we contemplate the modernist or postmodernist works?
Thirty years after the Adorno's work publication, where he spoke about the general cultural degradation in the consumer society, exemplifying it by the music regress, in 1968 in France there was an active movement for eliminating of such a category as the "art work". The artist Daniel Buren proclaimed openly, that "further existence of the art was unjustified". The "Lettres Francaises" published an interview with him, where he explains in details his own statement. Another publicist and artist Jean Dubuffet issued the book called "The Strangling Culture", a work full of the anti-cultural pathos.  In the same year - here is serial goods phenomenon - the critic Alain Joufroy published the book called "The Extermination Of The Art ".
The point of all these statements was to announce the traditional art as the worthless one, without any right for further existence. This tendency is paradoxical of its combination of the social protest (artists weren't satisfied by the art's place in the consumer society system) and active assistance to this society in replacing a ruined temple of the traditional art with quite useful subject - with the serial product. Probably, it satisfied artists with its new art features? More likely it hypnotized by an infinite reproduction principle and its reverse side, an infinite destruction, by the War, by that Malevitch considered to be the vital source, expelling the nature out of the art sphere.
Jean Tinguely, the "Salon Of The New Realities" participant, was famous in that time by his "destructive sculptures". His philosophy of life - is an example of contradictory artists' thinking, who wordily stand against the consumer society, at the same time strengthens this society with his conveyer-utilitarian creativity. During the installation of his Moscow exposition in 1990 at the Crymsky Val, Tinguely tried to tell the Russian artists about dangers of the consumer society moving towards Russia. It was quite curious.
"I fully belong to the industrial civilization... I try to give a social comment to its life conditions. Have you seen an altar at the entrance downstairs? It sings the praising hymn - ironically - to the Western abundance and to the ridiculously wasted wealth. By that I want to point at the danger of the new fascism emergence - the fascism of the consumer society, which in its mercantilism becomes more and more totalitarian. This is our future fascism. Hitlers, Stalins, Maos, Francos, - they are all gone. Mr. Brezchnev is also gone to the another world, and his ideas are vanished. But the totalitarian consumer society is heading towards you". (10)
It's right. Brezchnev is gone. A year after the Tinguely's exhibition the USSR was gone too. What's next? The conveyer is unstoppable: "The Soviet Union has disappeared, the enemy №1 in the world is France now". What is it? The CIA secret directive? No. This phrase was taken form the editor's column in the "Washington Post", June, 1992. France - is the "destructive sculpture" - pourquoi pas? And it destroys from inside, by its own artists in the name and glory of the new art.
In 1968 in a period of victorious march of the industrial production the Jean Baudrillard's work called "The System Of Things" was issued. There were substantiation of numerous artists' tries to announce about their position of right to use some subjects to transform them or to change their direct use. These attempts, despite of the sincere artists' wish to resist somehow an overwhelming subject-making art process, were actually their self-deceit. The opposition to this subject-making was, so to say, a parliamentary instead of being revolutionary. Artists accepted the rules of the game, where the art played the publicity role in the consumer society. The European cultural awareness, or more exactly, something that could be possibly called so,  compelled to take in account the "system of things" as the newest art trend, nonetheless couldn't at once refuse of an old idea about the art representation. The society wanted to figure out, who was the actual author of such a situation, when the main art's meaning vanishes, leaving on its place the historical subjects' importance. It was preferable to know: what was the logic, or did it actually exist in this art sense replacement. There's no a rational explanation for this, from the point of view of the art history. The new art ideologists turned to the irrational, insisting on the ingenuous subject's comprehension.
George Pompidou Center undertook this activity. It organized a set of expositions: Paris-New-York, Paris-Berlin, Paris-Moscow, Paris-Paris. They were held only in view to prove, that in spite of the external symptoms, the modern art has its own logic and it can be revealed at least in the historical evolution process.
Professionally published, a detailed catalogue of the Paris-Moscow exhibition, was the wide-covering guide of the Russian art. The Russian avant-garde was preferable there. In the USSR this trend, as an art of the first quarter of XXth century, was widely spoken up to the end of the 80-s.

The Russian avant-garde was quite useful in the propaganda purposes. It worked like a double secret agent. From one side: the active avant-garde figures were those, who closely collaborated with the Bolsheviks, who had no question, whether to accept the revolution or not. From the other formal plastic art side: the avant-garde had apparently something in common with the bourgeois art. It's rather difficult to point anybody from the Russian artists actively exposing in the 10-20-s, who weren't by some means connected with Paris, Berlin or Munich. That's why the West could with no hesitations initiate a new wave of interest to the avant-garde, with no fear to be witnessed in the ideological sabotage. Up to 1980 that danger wasn't possible at all. A break in cultural opposition between the West and the East, i.e. the USSR, took place rather before in the 60-s. Then the American secret services were by roundabout ways approaching to the socialist art's "Achilles' heel" - or to the avant-garde.

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1. Tupitsin V.  "A Reflection Right At The Front Door". -"The Art", 1989, № 10.
2. Mozalevsky I.   "A Modern State Of Artists In France". -Moscow, "Academy Of The USSR Arts", 1950, p. 24
3. Millet K.  "The Modern French Art".  -Minsk, "Propileyi", 1995, p. 6
4. Millet K.  "The Modern French Art".  -Minsk, "Propileyi", 1995, p. 84
5. Millet K.  "The Modern French Art".  -Minsk, "Propileyi", 1995, p. 83
6. Millet K.  "The Modern French Art".  -Minsk, "Propileyi", 1995, p. 148
7. Millet K.  "The Modern French Art".  -Minsk, "Propileyi", 1995, p. 148
8. Mozalevsky I.   "A Modern State Of Artists In France". -Moscow, "Academy Of The USSR Arts", 1950, p. 56
9. Adorno T. "About The Fetishist Character In Music And About The Regress Of Listening". In book: The Modern Bourgeois Art. -Moscow, "The Soviet Composer", 1975, p.231
10. The Andrey Erofeev's interview with Jean Tinguely.  -"The Art", 1990, № 8, p. 40.



Dalles' Plan.

Even in a period of the war in the very inside of the USA secret services there was a plan elaborated, which, being employed, could take Russia out of the way of Money Civilization to be all over established. It's known as the "Dalles' Plan". It's senseless to talk about a contemporary state of the Russian art and culture, regardless to a specific part of the Plan of Allen Dalles (CIA chief), where art and culture were examined thoroughly in a process of conquering of Russia. Here what Joann, Metropolitan of Saint-Petersburg and Ladoga recollects about Dalles' plan:
"...Soon the war will be over, everything will eased and somehow smoothened. And we'll use everything what we have (all gold, all material powers) to cheat and to fool people.
Human brains, people's awareness are likely to change. By having planted a chaos in there, we'll invisibly swap their values to false ones and will force them to believe in those false values. How? We'll find our sympathizers, our allies in Russia itself.
Episode by episode a tragedy, grandiose in its extent, will be going on. A downfall tragedy of the most rebellious people in the world, its ultimate and inevitable fading of their self-awareness. For example, we will gradually expel from the art and literature their social essence, we will make artists lose their skills, we will take out their wish of imaging... or of research, so to say, of those processes, taking place in a bottoms of people masses.
The literature, theatres, cinema - all of them will be glorifying and depicting the most vicious features of human feelings. We'll use all means to maintain and promote so-called "artists", who will plant and hammer in the human mind a cult of sex, violation, sadism, betrayal - briefly, all kind of depravity. (...)
And only few, just few will guess or even understand, what will be going on. But we'll put those people in a difficult situation, turn them into a laughing-stock, we'll find a way to calumniate them and to announce them a castaways. We'll be wrenching out a spiritual roots, we'll vulgarize and eliminate a basis of people's morality. (...) By this way we'll be crippling a generation after generation" (1).
So, considering this Metropolitan's recollection, Allen Dalles knew what he was talking about. He was already enough experienced in "making artists lose their wish of imaging", - just to pay attention on the fine art state in the USA itself before and after the war. Even amateur can recognize a sudden change taken place in priorities of art trends. It was conditioned by secret services and huge capital interaction, - Allen's brother John Foster Dalles was in that time a Rockefeller Bank's president and was closely connected with other millionaires family - with the Guggenheims.
It would be unjustified to consider the concept called "Dalles' Plan" to be  the only result of staff CIA analysts' activity (an extract from this Plan was retold in Metropolitan of Saint-Petersburg and Ladoga Joann's book "The Autocracy Of The Spirit"). Of course, in the view field of this organization there were theories and practices on combining art and ideology, elaborated and implemented by different forces all over the world long before the CIA creation.  But it's necessary to notice, that it's in the merit of this institution that it has managed  to define, to examine and to imply two main tendencies of art combination : a) with politics b) with finances and by having them combined, to create a new universal mean, able to shake economy and ideology of the country where the vital USA's interests were spread. Before this explosive technology has been created, those two tendencies existed quite autonomously and seldom crossed. Speaking about history of XXth century, we more often saw an interaction of art and politics. The revolution preparation in Russia, the Soviet power establishment there, the fascist dictate in Italy, the civil war in Spain, the German nazi-socialism history, - behind all substantial historical processes there were persons and groups from the most famous modern art trends. It was Lenin in Russia (the bolshevism - the avant-garde), Mussolini in Italy (the fascism - the futurism), Durutti in Spain (the anarchism - dadaism and the surrealism), Hitler in Germany (the nazi-socialism and the classical tendencies, mixed with the expressionism).
Art, implanted in a complex system of different social tiers' interrelations, not requiring itself to have an art work recognized, nevertheless actively forms preconditions for real new reality's creation. Well, only art is capable to reconcile bottomless human ignorance with boundless imagination force, and moreover, to make them to act together. A politician's genius is mostly determined by the reflecting ability to prepare practical party's, society's and peoples' moves by active influence on every single man's feelings. A capability to influence on human feelings, to evoke to life their sleeping energy and form a new one, so ignored by depraved civilized modern mind, is a confirmation of a politician's superiority. Historical figures of our century either themselves had ability to inspire peoples for great deeds, or were enough talented to use in these purposes art works. Behind every historical figure or a leader there was an artist, - one or few art figures, able to form aesthetically this figure's main idea clearly, and in plane forms. Moved by Lenin and Bolsheviks those people were Lunacharsky, Gorky, Malevitch, Tatlyn, Shagal, Filonov, Meyerhold, and also others appointed or post-free outstanding Russian culture figures. The most highly empowered they have consequently brought an artist image to the highest degree in the state. They have created an image of a new man and determined for a long time his ideology, or what is now timidly called 'behavioral stereotypes'. These stereotypes can be still seen, although neither there are Bolsheviks, nor their leaders.
In Italy a Marinetti's futurism helped Mussolini to gather power and to make his principle triumph: "Everything is in the state. Nothing is apart of the state. Never against the state!" Poet Marinneti fulfilled such a principles with direct action pathos, glorified a woken creative will of human, who's looking forward to a happy future. The poet felt a crisis of modern state system, based  on spiritual-democratic, representative principle, and saw a way out in a making a state, based on the antique, realistic-democratic foundations. And - the most important - the ideas! Their evaluation was radically changed: the futurism announced as a need of a new man, who's able to employ practical force, otherwise ideas would finally become a superstitions. The futurism sought with bias for an answers for contemporary questions, instead of being satisfied with that decadence which proposed hypocritically: replacing one question with another. A new man had to answer them. At the first place it's an artists, an art figure, differing from predecessors by his tireless activity in fighting against an unsolvable contradictories' complex, what makes future move further away. A futurist ignores a frames, containing human existence. Either he breaks it or... overcomes himself, becoming a superhuman. Unlikely "old" human, an artist looks for contradictions, and feels that only something with contradictions is vital and truly exists and could be realized.
A brave ideas couldn't be distributed by a governmental statement, and it was necessary to possess actor's eccentric temper, artist's imagination, able not only to bring a golden dream to humanity, but also to make enough clear-minded people go in for creating a golden millenium, and not only a golden century. Such people were the Germans. And Hitler was an artist. He persuaded his people that he saw a new man, - a creator, great, released from a burden of decadent culture of recent times. In reality a life-space was formed for this man by persons such as: architect Albert Speer, sculptor Arno Brecker. Their projects let Hitler see and involve the Germans in unprecedented idea of monumentality, correspondence of extents of the German people's spirit and new life-space, which appearance reflects this spirit's grandeur. Hitler was the first, who has determined and appointed an objective to neutralize evident sick mismatch of German spiritual sphere and split existence of its owner - i.e. the German people. He has managed to do almost impossible - to release the Germans from a lack of space of the protestant world, and to pull them out from the musty German-old-style houses and to inspire them to a new constructions' building. And thus the Germans saw themselves as builders, and in front of them - a limitless universe.
That time in Russia the avant-garde's persecutions, real and imagined, were lived over by its leaders the more painfully, that they, recently boundlessly empowered in art domain or a new world basis, were refused to continue their concrete activity on this very world organization. With the apparent leadership of Stalin, who concentrated in himself a priest, military and building functions, the avant-garde artists, pro-Trotsky oriented,  were expelled from the authorities structures. Stalin, a traditionalist figure, denying modernist principles in a system of the new state relations, relied on his talent of the art world vision and thus used this vision in choosing people, able to maintain and develop a cultural base of this state.
A cited part of "Dalles' Plan" is nothing more, but an inversion of Stalin's social realism principles. This universal principle, based on humanist European traditions was accepted by many creative figures in 30-40-s. This statement was thoroughly examined by the CIA specialists. Some moral ambiguity, neighboring with hypocrisy - no words to take out of the song - has moved from the Renaissance epoch to the socialism builders' era, thus made a weak links of theories. So these links were changed by Dalles' analysts to the clear, unambiguous formulas. Remember a slogan: "Get rich!". This, what Bucharyn paid for, was given by analysts in a new context: free personality should be understood as a personality, apart of all boundaries in its natural desire of enrichment. And human rights protecting such a desire could be legitimately seen, as an impunity right to be a malefactor. This was something new for the Russian and Soviet system. But that was novelty, given as a moral progress and modernity, that played an important role in "Dalles' Plan" realization in Europe and Russia.
In the period of so-called 'glasnost' there were different publications, making visible interaction between art figures and the young Soviet power. Many bright avant-garde representatives have bet on Trotsky's personality and theories, in regard of soon world leadership. This brilliant person is still full of mystery. We can only suppose, why, having come to Russia from America in four months before the revolution, famous by his anti-bolshevism, he in shortest terms has become a second person in Bolshevist party, bringing in this Russian communists wing his numerous comrades, who considered Russia only a fuse in international fire. Mostly those people constituted a base of thousand men, who, led by Trotsky, undertook a coup-d'etat in October 1917, and then become a core of a first Bolshevist government. Why Lenin made such a compromise? Finances probably have determined the reasons, made him to introduce in the Central Committee his former enemy, and hence a second person in the party and the state. If we talk about the German money, used by Lenin in making a revolution, so it's interesting to know, why actually didn't Germany get expected results from those investments? Weren't that American investments, acquired by Trotsky, incomparably bigger? Didn't he give by this way new Russia's governmental posts to his people and for himself, thus permitting his American creditors to influence directly on internal policy? Within twenty years Bolsheviks had to push out Trotsky's adherents, what ended by a great blood of 1937. The Trotsky's archive, a railroad carriage with documents, taken out by him in 1929 on leaving the USSR is now stored in the USA and is still under a top secret. Perhaps, in the nearest future there will be curious historical discoveries, for example, about Trotsky's and his clique's role in choosing a cultural basis to build a new world. But even now we know, that Trotsky himself dealt in art problems.
His sister, Olga Davydovna Kameneva,  Lev Kamenev's (the Chairman of Mossoviet)  wife, was one of the activists implementing Trotsky's ideas in life. Her opinion about the nature of the creativity was scarcely different from those of French merchants, who formed a new art market. Kameneva thought that poets, musicians and artists weren't ready born, but made; the idea of natural gift was made up by feudals in order to hold in their hands the art hegemony; any worker could be made an artist or a poet, any working woman - a singer or dancer; the point is only in a good will, good teachers and assiduity... Caring for that teachers were really good, Olga Davydovna was supposed to survey trustworthiness of art figures of a presided institution, the Theatre Department of the People Commissariat of the Enlightenment. She was supervising Balmont and Brusov, poet Baltrushaitis, a later Lithuanian ambassador, she patronized Meyerhold. Some sooner, some later - all the art figures, who by some extent surrounded Trotsky, lost their posts. And all their privations were a direct consequence of an actual contact with Trotsky and of degree of implementing his ideas in art activity. So, talking in Salvador Dali's florid manner, it's possible to say: up to 1929 there was total stop of artificial (immobile) feeding of the Russian people, pro-Trotsky artists left departmental cabinets.
In Europe the modernism was toiling up to this time. Its best times were over and artists, especially those who had some skills began to study  Ingre and Delacroix in hope to stand on a classical path. And the most active modernists, who "concealed thoroughly their drawing skills" were deeply disappointed, that in Europe there was a modernism sunset and, consequently they were useless there.
When Hitler hadn't been yet a leader in Germany there was a tendency, which supporters proved, that the formalism in the modernist art was evoked by admiration of degenerates. In 1928 in P. Schultze-Naumbourg's book "The Art And The Race" there were published portraits by C. Schmidt-Rottluf and A. Modigliani compared with faces of insane patients. Besides all we want to remark, that an issue date simply destroys the myths about fascists' first place in modernism persecution. Known among the modernism advocates as the "Nazi exhibition of the degenerative art", the Fischer's auction in Lucerne, where they were selling art works of gone trend confiscated from the German museums, was held only 30 years after the book's publication, - 30 June, 1939. The Americans were the most buyers. The American news-papers of that time with certain pride announced about the American victory on that auction. Actually, it was a registered act of the European modernism deportation. And it was yet far till the American anti-cultural victory.
Quite possible, that right in that moment a sacramental question could be posed by, say, one modernist to another as if he has found a way out of dead end: how about your drawing skills, Pete (Marcel or Vasiliy), isn't it a time to go to America?
Today's American art-critics talk, that only due to "no humanness in humankind" shown during the World War II, the contemporary art has neglected realistic image of a man - as if artists cannot draw portraits on having learned about the monstrosity's potential of Homo Sapiens. This is another attempt to give desired as a real. Already up to the time of the Swiss "degenerative" auction there were in the USA: M. Duchamp, P. Mondrian, Kandinsky, Max Ernst, Hans Hofmann, Antoin Pevsner, Yves Tanguy, Moholy-Nagy and many others, who long before the war believed that human wasn't worth to be depicted. We want to say, that also this myth about the artists' refusal from man's imaging, due to his anti-humanist actions during the war, was created to cover up the true reasons of the abstract art popularity in America. And also this myth had to conceal the European artists' tactic, who have seen in America a possibility to have back their aesthetic independence from Europe and positions themselves, lost in Europe: the fame, the public influence, the wealth, the schools. Utilization of art as a new category has begun right there, in America. Artists sought for capital's kindness, saving besides all an idea to revenge to the European politicians, who had expelled them. The finances found artists to be for a period of time an unchangeable dollar; and politicians had nothing else to do but to preside over this alliance, what was in delicate manner imposed to them by artists and millionaires. When the State Department and the CIA have managed to convince finally, that it was them who had this brilliant idea to make the modernism an ideological ram, giving a possibility for the American goods to rush roughly in Europe. Then was more or less clear contours of the "Dalles' Plan" occurred.
But how come that the State Department and the secret services right in this context have paid attention on modernists artists, emigrants from the European countries? In 1930-s, as we know, there was another art's apogee in the USA, and the anti-European tendencies were strong. Not that the European modernism was unknown, but it was skeptically perceived, like - here we have another curiosity! Even in Solomon Guggenheim's paintings collection among hundreds of Bauer's works, hanging in silver frames, hardly there were a ten of Kandinsky's works. Max Ernst, just arrived to the USA, ironically pointed to Solomon Guggenheim concerning this fact, that his collection should be renamed "Bauer-Haus" (2). And that was by the way 1938. We should focus on this caustic cue, in order to answer a question previously posed about how was a rapprochement possible between the state USA structures and castaways-artists. Who found whom, and who wanted whom to use at first - are the both difficult questions. And though we nicely discuss the modernism here, it's time to remember that the human relations are still classical, thus in order to clarify who found whom at first, we ourselves need to find a woman. These are the laws of genre. This woman, connected the art, the capital and the politics, was Marguerite Guggenheim, "a woman fatal for the XXth century art", more known as Peggy.
We'll have to tell a little bit about this person in context of our review and by the way to somehow restore the justice, as for: among the pillars, the indisputable authorities of fine art in the XXth century there are no women at all, and yet the modern art is more feminine, split and chaotic, than an image of masculine classic.
In a shadow of almost every modernism giant there was his real support - active, energetic woman. Peggy supported many artists. Peggy's exclusive ability was that she has managed not only to return to active creativity the European artists expelled by the time, but also to contribute to the creation of the newest trends in the modernism, to inspire new forces in the art market and to participate in making of a new aesthetic weapon, headed towards Europe, and later towards Russia. And not only the profit and zest for adventures stimulated her. She was also charmed by the new incomprehensible art and its representatives. She loved and she was a friend.
For the first time Peggy met the new art in small Alfred Stieglitz's gallery, who was practically the first modernism popularizer in the USA. Already in 1906, when Peggy was just eight years old he exposed in his gallery Picasso's and Picabia's works.  Who could ever think that that highly-intelligent kidding was destined to be a basis of the great American art? Up to the 40-s, when Peggy hadn't yet taken all the art radicals along with their present and future works, this art was supposed to stay in America as a funny European exotic, a nonsense, an absurd and a visible diagnosis of the crazy old Europe's degeneracy.
Peggy started travelling quite early and that gave her a possibility to learn about the European museums, galleries, its owners and artists. A young American woman in the beginning was interested, let's say, only in antiquities. And that was understandable: a man, if only he hasn't a finest hyper-exquisite taste and ultimate originality prone, so he would always prefer something habitual, normal and fine instead of strange and often ugly. But already up to the middle of the 20-s, when in Europe there was a turn to the classicism, when Severini and Carra, George Schimpf and Carl Hoffe, Matisse and Vlaminck were all creating quite realistic paintings, so in that time the American woman-millionaire was interested in those artists, who felt to be not strong enough to correspond to the modern conjuncture by their adequate works. Not everyone could like Picasso rush about the realism and the modernism, to be realist till midday, inspired by the Antiquity and after a dinner to turn to the Voodoo cult. Kandinsky, Mondrian, Duchamp or Ernst were the best to understand that it was impossible to interest Europe by their works, and to return themselves to the classicism, which become an art dominant, at least because of their age, regardless of course to their professional skills. It all depressed them. Their last hope was to interest in the modernism somebody from the wealthy Americans. And Peggy has incarnated this hope.
Certainly, the American secret services, having their own interests in Europe couldn't ignore Marguerite Guggenheim. It would be unforgivable to leave without guardianship this energetic person, who stood in the center of the whole net, binding the worlds of the business and the art. Of course, they've never called Peggy for covered talks or for recruiting. She could freely meet Dalles brothers and their branched residential structure at the Rockefellers, neighboring themselves with the Guggenheims, - their mansions were close to the Central-Park in New-York. The secret services found it unique opportunity that Peggy was rather mobile, expressive, had a zest for new in travelling, distractions, friends and art and, briefly, was out by some extent of standard imposed by her origins. So it was clear itself to use her talents in most delicate enterprises. Her liability to the Bohemians, the desire of mystification and reincarnations, all that makes closer the artist and the secret agent, this liability started with her own nose plastic operation, done in 1920 in Cincinnati. In that time there were distributed photos of Matah Chary, shot by the Englishmen. An image of a charming spy excited not only men, but also women, inducing them to make extravagant deeds.  A new nose cost $1000. So it was her and not her: "Guggy Pegelheim!" - that's what Isidore Duncan exclaimed having met her in Paris and seen all changes occurred with her compatriot.
So, holding nose by the wind, Guggenheim was rolling over Europe. And it was easier to tell whom she didn't meet from living in that time celebrities on her thorny way, than to enumerate her acquaintances beginning from purist Amedee Ozenfant and ending with expressive surrealist Max Ernst. Kafka's admirers, as well as Marx's ones, all found her sympathy. As for her, she liked "Anna Karenina" and "War And Peace", knew Lev Tolstoy's biography, red his diaries, liked Henry James and Deffoe's novels. Well, nothing to say - a unique cultivated person for the American standard. And even if Marguerite Guggenheim wasn't that energetic and multiply interested in her culture missions, undoubtedly, she wouldn't be aside of the cultural American and then the European  reorientation processes. We know about writers, who combined literature with quite punctilious work of diplomat or secret service agent. Those were Peggy's favorite Daniel Deffoe, Niccolo Machiavelli, Beaumarche, Kipling and Somerset Mohem. Up to the beginning of the World War II the secret services looked more steadily at the fine art. They began to understand, what kind of force was inside of that simplicity at perceptions level, but very efficient secret weapon with all its evidence in a ideological struggle. Its employment didn't require expensive instructors - interpreters and translators, as it happens with literature, but enough efficient and charming missionaries, - couldn't it be Peggy? And if a poet or a writer traditionally can be a diplomat, exercising by the way a propagator's functions, so an artist, contrarily, a more overt being, less fitted this job. And yet Peggy could finely combine in herself all necessary features of distributor, collector of information, due to her fantastic magnetism. She tremendously succeeded in all missions, assigned by the secret services, catching in the modernism web both the European artists and their spectators, both simple enthusiasts and the high-ranking European businessmen and politicians.
Having called an artist an overt being, we repeat an opinion widespread in the society about artist's soul turned inside-out. More often artists just let consider it so. The manipulation idea, or more smoothly - patronizing of artists by the secret services with Peggy's help couldn't occur within their one-sided activity. They were stimulated by emigrant-artists themselves. They grasped Peggy, on understanding that for them, in average, fifty-year-old pariahs  her contacts, money, sympathy could be their last chance. They desired vengeance, wishing to revenge to stiff Europe for their own wrong bets on the Trotskyism, for their own enthusiasm of particulars and metaphysics (shape is essential or is essence shaped?), for the modernism collapse - Europe preferred a pitiful water-colorist Schilckgruber.
Breton, Duchamp, Kandinsky and Max Ernst contacted the most closely with Peggy. With the latter she spent few years together.
Ernst had a magnetism talent, not less than Peggy's one, and skillfully used it. His influence on necessary people was very strong. When they met in winter, 1938, Ernst had just finished his personal exposition in London, where a major part of his works was bought by collectors, such as sir Ronald Penrose. Within four years  Max Ernst was patronized by Leonora Carrington, a person who had wide contacts in the business world. As we see, Ernst let both Leonora and Peggy feel his patrons.  Upon the first meeting Peggy noticed, that being 40 years old  Ernst looked very good. She was impressed by his snow-white hair, big blue eyes and noble, a bit hooked nose, making him resembling with a bird. She was nicely shocked by his tender body. So the bigger was her astonishment by sudden change, happened to him in night Marseilles train's compartment, when she saw old, flabby and loudly snoring Max, laying beside her. Max's taciturnity was a sharp contrast to Peggy's vivacity, - no way for artists' overt nature - he spoke only when he needed something and when he thought it to be pertinent.
They were both going for the occultism. In New-York Max frequented the technology and science museum, charmed by physical-mathematical subjects. They also inspired Marcel Duchamp, admitted his hobby in the occultism and the alchemy, like Antoin Pevsner. Max, as well as Breton spent a long hours in the American Indians Museum. It's known that in that time he acquired totem spikes, masks and clay puppets. But apparently that even in this domain Max wasn't an amateur. When Peggy was in a contact with her dead pal John Holms' spirit and asked him if she was going to be happy with Max, a spirit answered negatively. A wizard's influence of the artist was rather stronger, and unexpectedly Peggy has heard ensured and calm Max's voice: "But you've always wanted impossible?!" On behalf of this surrealist Peggy got a real support in obtaining impossible. On her Birthday party Albert Bush proclaimed, imitating Oscar Wild: "Only Peggy knows how important it is to be with Ernst", - expressing by that a common opinion of the artistic New-York circles, that Max Ernst - it was very serious.
Not only his colleagues artists were influenced by his personality. So, for example, Picasso ceased rushing about the classicism and the modernism under Ernst's  pressure. "Hernica" was made right in the moment when Max and Peggy thought to be possible to announce that quickening of the modernism was a case of the nearest future. Surrealist themes typical for Max were absolutely evident in that painting. But also together with Peggy he impacted on the secret services' decisions to supervise the modernism reanimation.
So, connection between the art, the finances and the politics is so weird, thin but very tight, when artist begins to translate impossible to human language.
It's very important, who provides such a connection, and intermediary's personality doesn't play secondary role. In Russia Trotsky, involved in the common-world project, didn't find it necessary to appreciate the artist's personality. He delegated the problems of the art's and the politics' connection to people like Olga Davydovna Kameneva, "an emptiest creature, whether dentist, whether accoucheur", as Chodasevitch said, when he was working under her command (3). As a result, with a lost of power in the party and the society Trotsky's cultural line, not being stabilized was interrupted.  When he left, the Museum and Institute of Artistic Culture founded by Malevitch and Matyushine was closed, Meyerhold changed his point of view on the art, and the most zealous "proletarian writers" got silent. Perhaps, Trotsky have mistaken, when he didn't try to find a "fatal woman", and made laugh of that principle. He chose somebody who was closer to him, like Olga Kameneva and as a consequence was gone himself far away with all his theories. That was the result of impatience, impulsiveness, old left sickness.
Unlikely Trotsky's sister, Peggy didn't consider an artist to be something outstandingly strange, in comparison to any other profession, and that's why she managed impossible: not only to return the modernism to Europe, but also to make this trend a base of everything called the modern art. Well, even her cultural skills wouldn't be enough to realize this plan independently in 1938. At first Peggy together with Max Ernst began methodic persuasion of Solomon Guggenheim to take that business seriously - to transform his little collection into a museum. They were talking about ridiculousness of his "Bauer-Haus". Max told it directly to Solomon, and Peggy - to her uncle's wife, Irene. There were separate consultations with Dalles brothers and Rockefellers.
The most difficult in convincing Guggenheim was that modernist paintings could have a substantial  price and could be invested. Almost convinced by Max and Peggy, Irene, nonetheless, wanted to have it guaranteed that modernist works would be valuable in the visible future. Her doubt was understood, because regionalist and all around artists were appreciated that time, and modernist paintings weren't taken seriously by businessmen. One day Peggy quite excitedly began telling to Irene, that soon everything would radically change and the earlier her dear Bauer would be thrown out, the earlier prices on modernist works would rise. Taciturn Max briefly noticed, that under Peggy's words there would willingly be a signature of such an authoritative specialist of the modern art as the Englishman sir Herbert Read, who, by the way, played an important role in Peggy's art taste's formation. "Quiet, all of you! - exclaimed Irene, disarmed by their arguments, - I don't want your uncle to hear it. Bauer's work cost much to him..." (4)
Max Ernst have understood: it was necessary to apply politicians in order to finally convince rich men to buy modernist paintings. Together with Peggy he elaborated in raw the plan, pointing out that the powerful state Roosevelt's government control was getting more and more depressive for the American businessmen. But businessmen weren't that easy to resist to the control, or practically, slightly overt state dictate, because aesthetic image of this dictate, based also on art works, objectively depicted current situation in the country. And, the most important, - art works were used in the collectivism propaganda, well for the state, and unwanted for important businessmen. It wasn't in their interests. In the same time images in works of the American painters according to the Roosevelt's monumental propaganda plan, lost in comparison to the realist European paintings. Consequently the American artists were doomed to imitate and so the American businessmen were in a double unprofitable position.
Firstly, it was unprofitable to support the art, which even indirectly was strengthening the collectivism.
Secondly, purchasing the European work, beating at a score the American one, the American millionaires would always invest respectively bigger sums.
And thirdly, it was unprofitable and shame being a cultural bootlegger, to import paintings from Europe. Besides, the European works were the imitation patterns for the American painters, thus they finally could raise their skills, what in turn would strengthen the Roosevelt's dictate.
And upon a long reflection and discussions with colleagues Max Ernst proposed a way out of this closed circle, to satisfy everyone. It was necessary to reorient the artistic culture from objective imaging of the reality to what was profitable for the American businessman and  politician. The modernism could meet all those expectations.  Developing this newest art a businessman got a right to regulate the price in monopolistic way, and a politician guaranteed by his means the stability of interest to this art. As a result both of them got advantage - they set the rules in the political and economic opposition to Europe.
Step by step this idea began to be realized. Dalles brothers on using Rockefellers' money finally persuaded Solomon Guggenheim to create a little museum instead of his small gallery. And already in 1939 Non-objective Art Museum was opened. Baroness Rebay became its director. She was fond of the occultism and admired works of Max Ernst, Kandinsky and Duchamp. From this very moment the new American art had been actively sponsored via private funds, and later via the state institutions, after that Eleanor Roosevelt had visited Peggy's gallery. Max Ernst was an outstanding cook as Peggy thought. He proved, that as well as to the man's heart a path to the first lady's heart also lay through a stomach.
Soon Peggy has undertaken a first descent to Europe with expelled artists' works. Together with Herbert Read she has prepared for London an exhibition called "The Art Of Our Century", included paintings of 1910-1939 period. Max Ernst has compiled the catalogue. Breton has written a foreword, finally served as a base of another book - "The Modern Art Anthology". Many paintings, included in Ernst's catalogue, were in France, out of a reach zone, because of the war already had begun. Peggy cared for that those paintings were purchased by the state with a help of the American secret services. All that procedure was made by Max to plant in Europe an opinion that the modernism had become valuable what was proved by the official American interest. Pointing at that stage of a "Dalles' Plan" we should imply active participation of Max Ernst and Peggy Guggenheim.
To involve the majority of the USA businessmen in investments in the modern art reorientation project, Dalles brothers have set a term for Peggy: the new art should be firstly personified by the Americans. She held in her gallery an exposition of "Hot-tempered" artists, who recently worked in realistic manner, but left this path, impassable for them, in favor of the geometric and expressive abstraction, - the very trends, where they appeared to be the most prepared in technical and intellectual aspect. Among them there were Pollock, Robert Motherwell, Baziotes, Hans Hofmann, Clifford Still, Mark Rothko. "Hot-tempered" were followed by expositions of such artists like Chirico, Hans Arp, Giacometti, Hans Richter, Hirschfield, Theo van Doesbourg and Peggy's daughter Pegeen. Influenced by Max "New Yorker" critic Robert Coates called that style the "abstract expressionism".
Already in the first exposition of this trend there was Jackson Pollock recognized. "My ward Pollock", - Peggy said about him quivering. And really, many forces and means were required to make unknown regionalist, Thomas Benton's apprentice, the banner of modern art, as leader of action painting - or else legendary Pollock. In the period of 1938-1942 Pollock lived on the allowance, which he got in a framework of the "Roosevelt's poor artists aid program". Peggy met him in the uncle's museum, where Jackson was earning on the side as a joiner. Since 1942 according to terms of the contract with Peggy's gallery he monthly earned $150, and if his painting was sold for more than $2700 a third of a sum was put on gallery's account. By the way Andre Breton had a $200 allowance as emigrant.
In 1942-1947 Peggy was mostly involved in Pollock's promotion. In 1943 in his gallery there was a first personal Pollock's exposition, which has become a key to his paintings flow followed after that. Here we should point at the critics, who was involved by Peggy to define and demarcate the beginning of the new modern art period, personified by Pollock. Peggy recollects, that a text, prepared by James J. Sweeney for this exhibition catalogue was quite interesting both for artists and for audience. The importance of that critic Peggy compares to the Herbert Read's role, who opened the modernism world for her a time ago. Another famous critic, Clement Greenberg, invited to this show, has proclaimed  Pollock the biggest modern artist.
A purchase of Pollock's work by Alfred Barr for MOMA collection was some kind of the legitimacy confirmation. Peggy confessed, that visitors of her gallery, who asked her to find something like Andre Masson's paintings, were satisfied with Pollock's works, proposed by her. The artist himself, overcoming regionalists' influence, mostly was oriented on the Max Ernst creative manner, and also was guided by advises of some Europeans, lived in America in that time, such as Marcel Duchamp. The modernism was assimilating in America with certain difficulties. Neither artists were easy to get a new vision, nor spectators were easy to watch. The American audience was saying that time: 'they make fools of us, as it seems, convincing us to take this daub as the fine art. Strange that such idiotic works are bought and paid by millionaires'.
Only few American galleries owners decided to expose a Peggy's ward. After long and scrupulous work only in 1947 Peggy managed to persuade one of her colleagues, Betty Parsons, to expose Pollock in her gallery. The CIA specialists have figured out, that the art, like the abstract expressionism in line with some other phenomenon of the mass culture actively influenced on human psychic and finally contributed to the genetic essence transformation. Anyway, the modernism was assimilated in the USA in definite portions, according to the national security doctrine and readiness level of businessmen to invest in it as well as artists to employ a new vision and its embodiment techniques. Frankly speaking, Peggy paid a lot for a patronage of newborn famous modern painter. She was constantly overcoming absurd difficulties, occurring at every step when she had to go in business affairs with unimaginably stubborn and eccentric Jackson. But work was a work. And the harder it became the more forces Peggy put to promote Pollock in Europe. His first personal exposition in Europe was held in 1952, in Studio Fachetti, Paris. Peggy understood that it needed time to hold an exposition in Venice, where Peggy was well installed. Besides, the exquisite Europeans hardly would be convinced even by such authorities like Greenberg, James J. Sweeney or always helpful Herbert Read, that Pollock's expression manner was a pioneer try. A group expositions, where Pollock's works were among the European ones, were the most satisfactory combinations. Such an opportunity was given by the Venetian Biennial. Peggy Guggenheim's and her CIA companions' means and forces were put there.
Held since 1895 in Venice, the Biennial was meant as the international exhibition, registering all latest developments in the modern art. In 1948 when Peggy came with her art collection to the Biennial, revived after the war, that tendency wasn't guarded with all the accuracy. The Biennial's range of works was uniquely bright, or speaking gently was too wide. There were classical school artists exposed: Delacroix, Courbet, Constable, Turner and even Goya. Besides them one could see old modernists' works, as Peggy called them, such as Picasso, Braque, Miro, Arp, Ernst, Giacometti, Marini, Klee, Mondrian and Henri Rousseau. All these names more likely were pointing at retrospective prone of the Biennial, than at the modernity's developments parade. And yet, from all artists who Peggy wanted to expose, the Biennial General secretary Palluchini  didn't know any of them. As Peggy noticed, Palluchini, being himself a savant of the Italian Renaissance, didn't know much about the modern art. Peggy made just a few   attempts to have an absolute support of Palluchini's deputy, Umbro Apollonio, "a very nice handsome man", who helped her immediately, although he understood in the modern art even less than his chief.
Admitting a charm of 50-year-old Peggy, we shouldn't forget that she managed to win the Italian art figures over her side also with a help of the secret services and the diplomatic body. Before the Biennial had been opened she talked for a long time to the American ambassador in Italy, James Dunn, who emphasized, that Peggy's collection in Venice was a substantial contribution in America's opening, that the Europeans were supposed to do again; that's why her activity was under the intensive surveillance of appropriate bodies. There were two catalogues published for her pavilion, elaborated by professor Ardan and Bruno Alfieri. Marga, Alfred Barr's wife helped Peggy with her Italian. Later, being sure that the high-ranking Italian art figures were loyal to her mission, Peggy began trusting them work on catalogues for following exhibitions of her collection. An evident achievement of her activity in the Biennial of 1948 was that in the European public opinion there were associations and parallels between Guggenheims' name, the modern art and the USA. And it happened regardless to that authoritative representatives of the European culture were in favor of the European artists instead of the Americans in Peggy's collection. Bernard Berenson, old Peggy's friend, art historian and the biggest connoisseur of the Italian Renaissance, has chosen from entire collection, as it was supposed to be, Max Ernst, and Pollock formed under his influence, - it was like according to the protocol. Besides that this historian couldn't help admiring of the small copper work of Henry Moore. Thus, the first culture missioner expedition in Venice, undertaken by Peggy Guggenheim assisted by the State Department and the CIA, has reached its goal, - there was then an open path for the new American art to penetrate in Europe. It was realized with a help of the Peggy Guggenheim's master-pieces collection, consisted that time mostly from the works of the "old modernism painters", what actually didn't give any reason for the Europeans to worry, - they saw in it a some kind of reverence to their culture, although that reverence was with the retrospective sense.
When the Biennial was over, Peggy began to work on direct forming of the Americanized  modern art in Italy. She met a young Italian artists Santomaso and Vedova, who helped her to meet others, - Dova, Crippa, Tancredi, later Edmondo Bacci. All of them were meeting in Angello cafeteria, near San-Marco.
In the former fascist Italy artists heard almost nothing neither about the surrealists nor about Brancusi, Harp, Giacometti or Malevitch. Only few of those artists through contacts with the American diplomats knew about the Solomon Guggenheim's museum or read "Minotaur" and "Cahiers d'Art" magazines. They considered the modern art to be exclusively the futurism and later forms of the modernism they began to learn from Picasso and Klee. It could be explained easily: both these painters already in the 20-s began to show interest to the classics, and cultural departments of the fascist Italy thought them to be the least dangerous to their aesthetic program among all other famous modernists. Meeting the extravagant American woman has opened for young men a fantastic opportunities - the most direct participation in the newest art creation. It's remarkable, that new works of Italian painters, shown as imitators of the authors from Peggy Guggenheim's collection, were purchased certainly by the Americans, staff of the USA Consulate in Venice. Mrs. Clare Luce, the high-ranking American diplomatic body's official, who was dealing in making a commercial contacts with Italian artists, was especially respected by those artists. They called her effusively La Luce, meaning her name, what signified on Italian "the light". The enlightenment of the "dark" Italians, along with all other Europeans was in the duty of employees of the American diplomatic agencies. In the American Consulate in Venice Mrs. Clare Luce held parties where she invited Italian artists.  During one of those parties she on avoiding being deliberate asked three artists, Gianni Dova, Roberto Crippa and Parmeggianni Tancredi, about who did they think from the Italian living artists needed mostly the first-aid support. Peggy Guggenheim, having skillfully set that trap, recollected how young artists not thinking at all answered simultaneously like a gun shot: "I need!" Like theatrical clackers, engaged to create a successful image for a certain actor, diplomats, on buying works of the modernism neophytes, encouraged them to continue working, and in the same time stimulated the new artists flow, necessary for the total modernism renaissance.
The Englishmen weren't far from their American colleagues. The British Institute financed exposition of the English artists organized by Peggy in Palazzo Sagredo in 1949. Their works were added to those from the Peggy's collection.
In the same 1949 Giulio Lorenzetti, the Ca Pesaro director gave two small installments for the Peggy's exhibitions. The same way fifty years later in March, 1999 the Saint-Petersburg Hermitage gave a relatively small hall to the MOMA collection.
Big or small, it doesn't matter. The precedent matters. Do you remember jokes like "Back off, Beethoven!" or "Throw Pushkin off the ship of the modernity!" - and a result is not that funny.
In 1950 in Correr-Museum there was an exhibition held, exposing Pollock's twenty three paintings, owned by Peggy.
In 1954 the American pavilion at the Venetian Biennial was purchased by the MOMA. Up to that time it became a duty for the high-ranking figures in Italy to visit it and to discuss the seen as it was a sign of a bon ton.
In 1960 Peggy met Andre Malraux, the French Minister of Culture and soon she was invited to show her collection in the Parisian Modern Art Museum.
When Peggy Guggenheim had appeared in Venice, the modernism, being almost dead before, began to show its pulse, and the activity around the new art has suddenly started. And it occurred right around herself and her art collection.
During the World War II the USA and France were allies. Italy was in the Hitler's coalition, that's why the Americans could exercise their cultural policy on the territory of defeated enemy with no inhibitions. In Italy, unlikely France, the Americans on one hand could easier eliminate a visibility of the European and American conflict, relying on their army's dislocation there and contacts with the Italian Mafia, supported by the CIA. On the other hand, that conflict wasn't just visible, if taking into account the collectivist essence of ideologies, existing all together in Italy. The Catholicism, the Marxism, the fascism were massively supported in the country, and those ideologies sometimes updated one another due to their collectivist base. To get rid of traditional ideologies was quite difficult. Thus in Italy with the help of the new art they began gaining from the "collectivism ideology" a space for development of the "individualistic values ideology". Peggy Guggenheim has succeeded on that field. In 1962 she acquired a name of the honored Venetian citizen. She strewed a seeds of the modernism among the sacred Venetian stones of the traditional European art. Grown and strengthened those seeds began to destroy the stones, turning a building of the European culture into ruins, covered by flowers, monstrous by their shapes and colors and emanating a stench.
For this barbarian selection Peggy involved active assistants, who exported the modernism from Venice to other countries. The Tel-Aviv Museum, on behalf of its director Eugene Colp, in 1950 rented from Peggy her four paintings for temporary exposition. She also found in 1966 a complete mutual understanding with Norman Reed, a new director of the Tate Gallery in London, holding her famous exhibition. Right after the Tate Gallery another modernism missionary Pontus Hulten took that exposition to Stockholm. Then there was Copenhagen, the Royal Gallery. Despite of the fact, that the European monarchs were the least interested in the modernism, and were concentrated on the archeology and the classical Chinese art, nonetheless they had to accept politely invitations to the exhibitions, exposing collections of patron of the American famous modern art. We should add that she was given an honorable title of the Italian Republic Commandatore. And hardly there were more then two women who could share such an honor with Peggy.
People make the history, but those who force to do it are few historical personalities. And it doesn't matter that their ideas are soon diffused by the time and unrecognizably changed. The reorientation of the European artists, their new appeal to the modernism was going on with the active Peggy Guggenheim's participation. Fifty years old, following the American military forces, she brought to Europe her paintings collection - and outpost of antique art has fallen down.
With the end of the World War II a character of relations between the European modernists artists and the American secret services has also changed. If during the war artists were living only in the survival mode, so that beginning of the military European occupation coincided with the cultural occupation, what forced the United States to involve widely the European modernists in creation of the new, Americanized image of Europe. Peggy Guggenheim and Max Ernst were the "Grey Cardinals" implementing this policy.

(end of Part I)

Saint-Petersburg
1999

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1. Metropolitan of Saint-Petersburg and Ladoga Joann  "The Autocracy Of The Spirit".  "Tsarskoye Selo", 1995, p. 328
2. Peggy Guggenheim.  Ich habe alles gelebt. Die Memoiren "Femme fatale" der Kunst.  Bastei-Lubbe (Gustave Lubbe Verlag GmbH), 1998, s. 230
3. Chodasevitch V.  "The White Corridor".  - Our heritage, 1998, №3, p. 81
4. Peggy Guggenheim.  Ich habe alles gelebt. Die Memoiren "Femme fatale" der Kunst.  Bastei-Lubbe (Gustave Lubbe Verlag GmbH), 1998, s. 230