Is the boom in Socialist Realist art merely the latest fashion in the art market and criticism, an example of capitalism's voracious appetite for colonizing all things still outside the market and commodifying them as profitable novelties? In part, yes. That's not the only story, however. For instance, revaluation of Alexandr Deineka, whose art straddles the Constructivist and Socialist Realist schools, is certainly overdue:
the Smithsonian’s International Gallery, created a number of remarkable pieces, expressing myriad moods of everyday Soviet life -- from bottomless grief of "Black Lake," urban loneliness of "Waiting," sensuous serenity of "Floor Polisher," to wordless longing of "Morning" -- in a wide range of styles irreducible to the proletarian heroic mode.
Nikolai M. Romadin, "Black Lake," 22 5/8 x 32 3/8, Oil on Board (1946, the State Tretyakov Gallery, Moscow)
Yuri I. Pimenov, "Waiting," 23 5/8 x 31 1/2, Oil on Canvas (1959, the State Tretyakov Gallery, Moscow)
Petr P. Konchalovski, "Floor Polisher," 66 5/8 x 55 3/4, Oil on Canvas (1946, the State Tretyakov Gallery, Moscow)
Geli Mikhailovich Korzhev-Chuvelev, "Morning," 31 1/4 x 21 1/4, Oil on Canvas (1958, a Private American Collection)