Reflection on the art of the Urals. The painting Chelyabinsk: the main tendencies for 100 years

The article explains the history of twentieth century painting in the South Ural region, more precisely in the center in Chelyabinsk. The development of this art form is seen in the semantic context of the underlying ontological essence of Ural art. The author traces the relationship of fine art with historical and cultural bases of the development of art, starting with Peter's time, and identifies the painting as an art form, has a kernel value in the development of fine arts. Given the historical pattern and stylistic evoluation of the monumental and easel painting in the past century in the center of the Southern Urals until the beginning of the twenty-first century. The development of painting revealed in connection with the forms of organization of creative work in the face of a professional organization - the Chelyabinsk branch of the Union of artists of the USSR/Russia. Structural model of the study of painting artists in Chelyabinsk is based on the coordinate axes: spatial, species and temporal, within identified key personnel, analyzed their staged works of art. The article provides an analytical review of monumental and easel painting capital of the Southern Urals and its masters revealed figuratively-meaning, genre-specific identity features of the plastic language of painting South Ural, which is a interesting and little known creative formation of the spiritual heritage of recent history and modernity.