Socialist Realist Paintings and Sculptures in the National Art Gallery, Tirana

Skender Kamberi - The Bread Strike 1942 - 1971

Skender Kamberi – The Bread Strike 1942 – 1971

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Socialist Realist Paintings and Sculptures in the National Art Gallery, Tirana

This post will consist of images of the paintings (and a few sculptures) from the Socialist period of Albania’s past. The first floor of the National Art Gallery is almost now solely (with one notable exception, which I’ll come to later) devoted to the period before 1990 when things fell apart.

Some of the paintings have been on display for many years and, in a sense, have become the core of the exhibition. There must be many more in storage but as politics gets into everything there may be some which are not even allowed to be on public display for specific reasons. There are a couple that show images of Enver Hoxha but there must be many more – in fact I’ve seen reproductions which are in the national collection but which never see the light of day. I hope, and don’t think, they have been destroyed.

Other political and economic reasons might prevent certain works from being seen. One subject which comes to mind are those paintings which celebrated the developments of the Collective and State Farms. In the selection below the co-operatives are mentioned but only when they are showing people, There are no images of mass industrialisation of the countryside – with tractors and combine harvesters – as those would, perhaps, make the viewer wonder why such images cannot be seen in the countryside of the 21st century as land ownership has gone back to that of the feudal period with virtual strip farming.

The images that are presented are all those that are on display in the National Art Gallery in Tirana at the moment. They are presented here in an effort to encourage anyone who visits Tirana to make an effort to go to the art gallery. It is a unique collection and one that doesn’t get the recognition it deserves. Unfortunately you don’t have to push and shove to get a good view of the works.

As to the structure of the presentation they are presented in the alphabetical order of the artists’ first name – only because that’s how Windows organises files in folders. This is followed by the title of the work in English. Sometimes the title seems inappropriate but that is probably down to a poor translation from the Albanian. I have given the title as printed on the card beside each exhibit. Next comes the year in which the work was painted. Two were not dated and have ‘nd’ in place of a year.

There are advantages of placing works by the same artist together. The individual style becomes more obvious and if the work cover a long period of time it’s possible to see a development of that style.

The dates are also important as with some of the early works it’s not really possible to describe the works as ‘Socialist Realist’ – the artists’ training and development taking place under a completely different social system. Comparing the dates with events that were taking place both nationally and internationally can also help in the understanding of the various elements in many of the pictures.

I would hope (at some time in the not too distant future) to look at some of these works in a more forensic manner. As it is with time constraints I will only make a few comments on some of the works if I think such snippets helpful in understanding the whys and wherefores of the image and also how such images fitted into the society that the Party of Labour and its leader, Enver Hoxha, were hoping to achieve.

Hey, I might get it wrong but if I do I would appreciate being put along the true path of enlightenment.

From the late 1960s a biennial exhibition of figurative art was held in the National gallery (many of the examples below would have been entered into those competition).

1969: The Revolutionary Spirit in Albanian Painting and Sculpture

1971: 1971 National Exhibition of Figurative Arts – Tirana

Abdulla Cangonji - The fishermen - 1965

Abdulla Cangonji – The fishermen – 1965

It might be just chance but although Albania has a long coastline, in relation to the size of the country in general, and that the fishing industry would have been quite important during the period of the construction of Socialism there aren’t many paintings which celebrate that fact.

Abdurrahmin Buza - The refugees - 1957

Abdurrahmin Buza – The refugees – 1957

Buza was one of those painters who established his reputation before Liberation but did develop his work to deal with events and circumstances in the young Albanian Socialist State.

Abdurrahmin Buza - Voluntary work at the 'Stalin' textile factory - 1948

Abdurrahmin Buza – Voluntary work at the ‘Stalin’ textile factory – 1948

The factory, which was established in the town of Kombinat, to the west of Tirana along the ‘old road’ to Durres, is now (and has long been) an abandoned ruin. The statue of Stalin that dominates the scene is the one that is now at the back of the National Art Gallery.

Alush Shima - Portrait of a worker - 1971

Alush Shima – Portrait of a worker – 1971

You’d have to look hard to find a miner in Albania today. Even so there’s an interesting bas relief in the ex-mining village of Krrabe, on the way to Elbasan from Tirana.

Andon Lakuriqi - Testing - 1969

Andon Lakuriqi – Testing – 1969

Heavy industry was crucial for a self-sufficient Socialist society. This created problems as resources were not able to be directed to the production of consumer goods that people craved – especially when these were becoming ever more plentiful in the capitalist countries – whatever the consequences for the general well-being of the population. That is why images of heavy industry were so common in paintings of the period. This matter became even more extreme when first the Soviet Union and then the People’s Republic of China pulled the economic plug due to ideological reasons i.e., the fight against Modern Revisionism.

Arben Basha - I will write - 1971

Arben Basha – I will write – 1971

The title causes confusion – but that might simply be down to a problem with the translation from Albanian to English. In Albania working men and women were encouraged to write about their experiences and thoughts there being many outlets at a local and national level where amateur writers were encouraged to send in their work.

Aristotel Papa - From constructions - 1969

Aristotel Papa – From constructions – 1969

The construction of new houses was crucial in the early years of the republic and these 5/6 storey buildings are common throughout Albania. There not exactly pretty to look at from the outside but the few I’ve had the opportunity to visit were more than comfortable on the inside. What also went hand in hand with the construction of the flats were the communal heating plants, especially important in the mountainous regions and those towns and cities situated over a few hundreds of metres above sea level.

Bajram Mata - Portrait of a volunteer - 1969

Bajram Mata – Portrait of a volunteer – 1969

It will become noticeable the number of women – especially the young – who are depicted as playing a full role in the construction of Socialism. And not just as the manual labour but in positions of responsibility, reflecting how (between 1944 and 1990) Albania was succeeding to turn the world upside-down when it came to women’s liberation. Why women reverted to the ‘traditional’ role – which is the case when you look around 21st century Albania – is a question I’ve not been able to answer.

Bajram Mata - The Co-operative work - 1972

Bajram Mata – The Co-operative work – 1972

Some of the work on the Collective and State Farms would have been done by hand but the areas covered in some of these enterprises would have been impossible to have farmed without serious mechanisation. Albania wasn’t totally self-sufficient in the production of such items as tractors and combine-harvesters but it was aiming to be so.

Bajram Mata - The dance of Dibra - nd

Bajram Mata – The dance of Dibra – nd

Throughout the period of Socialist Construction a great deal of effort was put into maintaining traditional folk culture. What was represented in the paintings was not something of the past but of the present where tradition and the the goals of the future were working in tandem.

Bajram Mata - The volunteers 1969

Bajram Mata – The volunteers 1969

One of the aims of Socialist Realist Art is to maintain the dignity of manual labour, in both the town and the countryside, and to challenge the idea that certain jobs were more prestigious than others. As all Socialist societies have developed the fight against the development of an ‘intelligentsia’ that saw itself better than the majority of workers became one of the on-running battles. Efforts to challenge this, by sending intellectuals, Party functionaries and those in comfortable occupations, were tried in all the four Socialist countries (the Soviet Union, the People’s Republic of China, Vietnam and Albania) but not continued for long enough to put the intellectuals into their place. The Cultural Revolution in China between 1966 and 1976 was the highest point in this struggle but even that eventually failed.

Bardhyl Dule - The construction woman -1971

Bardhyl Dule – The construction woman -1971

Women started to take on skilled manual jobs.

Bardhyl Dule - The Partisan courier - 1973

Bardhyl Dule – The Partisan courier – 1973

A similar theme is explored in the sculpture ‘On the road to war’ which can be found in Tirana Park. In the sculpture a peasant woman is giving water to a thirsty Partisan. This is by the sculptor Hector Dule. I don’t know for certain but I assume there’s a familial relationship and one piece of art nurtured the other.

Bardhyl Dule - The weeding of the olive trees - 1973

Bardhyl Dule – The weeding of the olive trees – 1973

I like the little joke in this painting where whilst all the others are working there’s a man in the bottom right hand corner, who is leaning against a tree reading a newspaper.

Clirim Ceka - July 30, 1978 - 1978-9

Clirim Ceka – July 30, 1978 – 1978-9

The date in the title of this painting could be a reference to the first steel being made in Albania after the ideological and economic break with the People’s Republic of China and a return to self reliance.

Dhimeter Mborja - freinds of the factory - 1969

Dhimeter Mborja – freinds of the factory – 1969

One of the principles established with the construction of Socialism was that the workers would live and work in the same place. This is not always possible but when we are talking about Collective and State Farms as well as major industrial complexes this makes sense. Apart from anything else this reduces the working day as people have less of a commute. This is not something ‘invented’ by Communism, it existed in the early days of the Industrial Revolution in Britain and hence you had the creation of ‘mill towns’ and ‘mining towns’. For the capitalists this was a method of control – with the mine/mill owners also being the landlords of any housing. This, the capitalists hoped, would be a barrier to industrial action. Under Socialism it was a way of bringing people closer together with the creation of a true community where amenities could be shared. This also happened in the capitalist situation with the development of mutual societies and clubs. But not everyone in a community would be necessarily working at the enterprise. They would be servicing the population in other ways, such as education, health and culturally. Hence the idea of those people visiting a works to understand exactly what went on behind the factory walls.

Edison Gjergo - The epic of the morning stars - 1971

Edison Gjergo – The epic of the morning stars – 1971

When I was in the National Art Gallery a few years ago this painting had an additional card beside it indicating that this painting, and the artist, had been criticised for its formalist style. However, presently there’s nothing to bring such a criticism to the viewer’s attention.

Edison Gjergo - The Founder - 1971

Edison Gjergo – The Founder – 1971

If Gjergo had been criticised for the previous painting on matters of style this one should have been criticised for its content. Here we have the worker as some Christ/John the Baptist like character. There’s something cold and dead about the expression which I don’t like, either.

Fatmir Haxhiu - Skroskie 1944 - 1966

Fatmir Haxhiu – Skroskie 1944 – 1966

This documents an event during the War of Liberation. This was another painting that previously indicated that it had been the subject of political criticism during the period of Socialism. This time due to the fact that the figure in the centre is that of Mehmet Shehu when he was a commander in the Partisan army. The painting was removed from display when he fell from grace in 1981.

Fatmir Haxhui - The Victor - 1979

Fatmir Haxhui – The Victor – 1979

A portrait of one of the victorious Partisans who liberated Tirana from the Nazi occupiers on the 17th November 1944. We know it’s Tirana with the image of the Et’hem Bey Mosque (Xhamia e Et’hem Beut). It wasn’t used much during the Socialist period and is now undergoing an extensive renovation.

Franc Ashiku - At the hydropower plant - 1971

Franc Ashiku – At the hydropower plant – 1971

The Albanians were always proud of the way they were able to electrify the country and the opening of a new hydro-powered plant was always celebrated. Immediately after the liberation of the country in 1944 one of the first aims was to electrify the country, just as Lenin had declared for the young Soviet Union after victory in the War of Intervention.

Fuat Dushka - The metallurgist - 1979

Fuat Dushka – The metallurgist – 1979

One of the few sculptures that are displayed inside the Art Gallery. There are, of course, the fine sculptures of Marxist leaders and other examples of Socialist realist art behind the Gallery building.

Harrilla Dhimo - The work of our hands - Fierze - 1979

Harrilla Dhimo – The work of our hands – Fierze – 1979

This is another painting that celebrates the production of electricity, this time the power plant at Fierze. The construction of the dam for this plant created the magnificent Lake Koman.

Hasan Capari - Portrait of a girl - 1972

Hasan Capari – Portrait of a girl – 1972

Not all the art created by painters during the period of Socialism concerned either the world of labour or the events of the War of Liberation.

Hasan Nallbani - Lifting up a garden hoe - 1966

Hasan Nallbani – Lifting up a garden hoe – 1966

Women were well represented in Albanian Socialist Art.

Ismail Lulmi - Landscape - 1974

Ismail Lulmi – Landscape – 1974

A landscape painting which depicts a State or Collective farm – which made Albania almost self-sufficient in food production during the period of Socialism. Following the counter-revolution of 1990 the land was distributed amongst the population and now Albanian agriculture resembles more what you would seen in Britain during feudal times with ‘strip’ farming being the norm.

Isuf Sulovari - Partisans resting - 1971

Isuf Sulovari – Partisans resting – 1971

Notice the young female Partisan teaching her older comrade to read during a respite from the fighting. Illiteracy was rife in pre-Liberation Albania and education was one of the early priorities of the Socialist state. That can be seen by the number of books that are printed in the Albanian language still to this day, totally out of proportion to the level of the population.

Isuf Sulovari - The giant of metellurgy - 1974

Isuf Sulovari – The giant of metellurgy – 1974

This painting depicts the construction of one of the factories in Elbasan – the centre of Albania’s metallurgy production during Socialism. This huge area is now almost totally abandoned for its initial purpose. Notice also the central character is a woman. Women were not reduced to manual jobs but also took on responsible roles.

Isuf Sulovari - The milkwoman - 1971

Isuf Sulovari – The milkwoman – 1971

A female dairy farm worker. From the size of the herd and the structures in the background this is another depiction of a State or Collective Farm.

Jorgji Gjikopulli - Flowers of life - 1970

Jorgji Gjikopulli – Flowers of life – 1970

Sunflowers used for the production of cooking oils. There were also extensive areas of olive oil plantations, especially in the south of the country close to Saranda.

Kristaq Rama - A contemporary of the Republic - 1964

Kristaq Rama – A contemporary of the Republic – 1964

A celebration of the working class – those who had the potential to make a new and glorious future. A task, eventually, the Albanian working class were unable to fulfil. Rama was involved in the creation of a number of some of the most important of Albanian lapidars such as Mother Albania in the Tirana Martyrs’ Cemetery; the 1912 Independence monument in Vlora; the monument to the artillery in Sauk; the monument to the year 1920 outside Vlora; the bust of Shota Galicia in Kukes. Rama is the father of the present Prime Minister, Edi Rama – who was also trained as an artist. Whether the father would be proud of the fact is not recorded.

Llambi Blido - At the commanding unit - 1971

Llambi Blido – At the commanding unit – 1971

The poster on the right argues that it is only the work of the Party and the system of Communism that will ensure the true emancipation of women.

Llambi Blido - Portrait of a girl - Alma - 1994

Llambi Blido – Portrait of a girl – Alma – 1994

This is the only painting in the present exhibition on the first floor of the Art Gallery that was created after the counter-revolution of the early 1990s. And it sticks out like a sore thumb. Although painted by the same artists as the painting that goes before it above if lacks any meaning. It’s the sort of kitsch that gets re-produced in thousands and gets a pride of place in the homes of some people who refuse to look at art with a critical eye. All that can be said of it is that it is ‘pretty’ but conveys nothing. It’s a chocolate box image. There’s no character in the face, we can deduce nothing about the sitter. Compare this image with the other portraits of young girls and women in the rest of the exhibition. Blido in his dotage.

Lumturi Blloshmi - At the industrial plant - 1974

Lumturi Blloshmi – At the industrial plant – 1974

Environmentalists might look on this picture in horror but in the early 1970s the building of these industrial complexes was seen as a great achievement of the Albanian people. And indeed it was. Under attack from the very first days of the revolution, especially by the British, it was crucial that the Albanian people were able to be as self sufficient as possible.

Muntaz Dhrami - Invigorate the Revolutionary Spirit - 1984

Muntaz Dhrami – Invigorate the Revolutionary Spirit – 1984

An allegorical sculpture from one of the finest sculptors produced by Albanian Socialism and he was involved in the creation of some of the best examples of Albanian lapidars. His work includes: Mother Albania, at the National Martyrs’ Cemetery in Tirana; the 1912 Independence monument in Vlora; the Monument to Heroic Peze; the monument to the Peze Conference; monument to the battle of Mushqete in Berzhite; the amazing arch at Drashovice; the monument to the year 1920 outside of Vlora; the Priske lapidar; and the obelisk to education in Gjirokaster.

Musa Qavri - Paving the road - 1972

Musa Qavri – Paving the road – 1972

Before Liberation there were few paved roads in the country, even in the towns and cities. It would take time to improve communication throughout the country. What Socialism didn’t achieve capitalism has not ‘rectified’ as there are still many parts of the countryside without metalled roads.

Nexhmedin Zajmi - Partisan ambush - 1956

Nexhmedin Zajmi – Partisan ambush – 1956

The success of the Partisans in the fight against both the Italian and German Fascists was their control of the mountains of Albania – which were as much as an antagonist in the war as the combatants.

Nexhmedin Zajmi - Still life with chicken - 1955

Nexhmedin Zajmi – Still life with chicken – 1955

Like landscapes still lifes were not really the fare of Socialist Realist art but, obviously, artists turned their hand to various subjects.

Nexhmedin Zajmi - The cascade of the Drin - 1969

Nexhmedin Zajmi – The cascade of the Drin – 1969

These I understand to be a trio who would have been working on the construction of one of the hydro-electric projects, the Drin being the river that runs close to the northern city of Shkoder.

Pandeli Lena - The operators - 1981

Pandeli Lena – The operators – 1981

Albania has extensive oil reserves and workers in the industry were often depicted in paintings.

Pandi Mele - Beyond the window - 1972

Pandi Mele – Beyond the window – 1972

This picture borders on abstraction and I’m not sure how this would have been received in certain circles at various times during the Socialist period.

Pandi Mele - The highlander - 1971

Pandi Mele – The highlander – 1971

If he plays with abstraction in his previous painting above here Mele captures the character of a peasant from the mountains.

Pandi Melo - Soldiers of the Revolution 01 - 1968

Pandi Melo – Soldiers of the Revolution 01 – 1968

Pandi Melo - Soldiers of the Revolution 02 - 1968

Pandi Melo – Soldiers of the Revolution 02 – 1968

Pandi Melo - Soldiers of the Revolution 03 - 1968

Pandi Melo – Soldiers of the Revolution 03 – 1968

The three paintings above were painted as a triptych and show soldiers of the Albanian People’s Army showing them involved in various activities, practising shooting skills (note it’s the woman who has the gun), in manual labour helping in civilian activities and in study of Marxist texts.

Petro Kokushta - At the height of light - 1981

Petro Kokushta – At the height of light – 1981

Constructing the dam, referenced by the lake below, is only one part of the electrification of the country. The distribution infrastructure also needed effort and, in this case, a head for heights.

Petro Kokushta - The assembler - 1979

Petro Kokushta – The assembler – 1979

The worker at the top of everything and this one is waving a red flag.

Petro Kokushta - The driver - 1971

Petro Kokushta – The driver – 1971

In place of aristocrats and other hangers on Socialist Realist places the ‘ordinary’ man and woman on the walls of the Art Galleries.

Petro Kokushta - To the Assembly with a cannon - 1979

Petro Kokushta – To the Assembly with a cannon – 1979

Here the attack on the Quisling Assembly, between German Nazis and so-called ‘Nationalists’, on 18th October 1944 is depicted. A section of the 3rd Partisan Brigade dragged a canon up to the hills above Tirana, in the area of Sauk, and fired down on the meeting as it was taking place in the Victor Emmanuel III Palace – which is just across the road from the National Martyrs’ Cemetery on the Elbasan Road from Tirana. The remains of the fascist, Quisling and coward Ahmet Muhtar Bej Zogu (the self-proclaimed ‘King Zog’) were buried in the building’s grounds in 2012. After Liberation in November 1944 the 18th October was declared ‘Day of the Artillery’.

Rafael Dembo - Going to work - nd

Rafael Dembo – Going to work – nd

Here we have a representation of the solidarity that comes with collective labour – directed to a common goal.

Sadik Kaceli - The crossing of the striking division of Brigade No 1 - 1954

Sadik Kaceli – The crossing of the striking division of Brigade No 1 – 1954

Many of the early Socialist Realist paintings concerned themselves with incidents from the National War of Liberation.

Sali Shijaku - Ilic Kici Dashi - 1978

Sali Shijaku – Ilic Kici Dashi – 1978

Dashi was one of the many who were designated ‘Hero/Heroine of Socialist Work’ after the War of Liberation from the invading fascists.

Sali Shijaku - The oilman - 1966

Sali Shijaku – The oilman – 1966

Oil workers were distinguished by their distinctive hats and combination cape. In any circumstance not a particularly pleasant job.

Sali Shijaku - The opening of new lands - 1970

Sali Shijaku – The opening of new lands – 1970

To prepare the land for the establishment of the Collective and State Farms, after the Agricultural Reforms of 1969 would have required and enormous amount of hard physical labour. What so few people achieved in such a short time is admirable. It is a tragedy that so much of that labour has gone to waste and the land they made workable now being left fallow – until some big corporation steps in and reaps the fruits of the millions of men and women hours needed to make the land productive.

Sali Shijaku - Vojo Kushi - 1969

Sali Shijaku – Vojo Kushi – 1969

Vojo Kushi was a young Partisan who, when surrounded in a house in Tirana by Italian fascists with two other comrades, rushed the enemy and attempted to throw a grenade into one of the tanks of the occupying forces. This is one of the largest paintings in the exhibition.

Seli Shijaku - At the Enver Hoxha Autotractor Combine - 1979

Seli Shijaku – At the Enver Hoxha Autotractor Combine – 1979

As a predominantly agricultural society it was imperative, in order to make collectivisation of the land a success, that machinery was introduced into the process. This both created an industrial working class in the creation of the tractors, ploughs and combine harvesters that were produced in the industrial centres as well as converting the peasant farmers into agricultural workers with skills commensurate with the workers in the cities. It is only this year that I’ve seen any development in the use of machinery in the countryside – and that on a small scale. What it took Socialism to achieve in 20 years capitalism has barely made any impact in 30 when it had a solid base to start from whereas Albania in the 1940s was starting from scratch.

Shaban Hysa - Beyond - 1969

Shaban Hysa – Beyond – 1969

The ‘Beyond’ here is not just the route of the electricity pylons but what this will mean for the construction of Socialism and the building of a new future for working men and women.

Skender Kamberi - The bread of our hands - 1976

Skender Kamberi – The bread of our hands – 1976

Here the various phases in the development of a wheat crop are conflated into one scene – semi-lyrical, semi-romantic. But the title is important and it stresses that what the workers receive is due to their own efforts. The land and all its fruits belong to them as a whole, as workers in the countryside and in the cities, co-dependent.

Skender Kamberi - The Bread Strike 1942 - 1971

Skender Kamberi – The Bread Strike 1942 – 1971

This is one of the most interesting of the paintings in the present collection – and I’d never seen igt before. This is an action filled canvas. There’s so much going on there’s too much to go into here. And I’m not exactly sure where this strike took place. Even before the Partisan war against the invaders took off in an organised manner there were many actions by unarmed workers against the invading Italian fascists. One other notable example was the strike of tobacco workers in Durres in 1940. There were also many demonstrations on the streets of towns throughout the country.

Skender Lako - Landscape of Pogradec - 1972

Skender Lako – Landscape of Pogradec – 1972

A charming landscape scene of the entrance to the town of Pogradec, on the shores of lake Ochrid, in the south-east of the country. The first painting in the exhibition to include a lapidar – which is way out of scale to the actual monument still in existence.

Skender Milori - A letter to the family - 1970

Skender Milori – A letter to the family – 1970

Two young women outside their tent in the south of the country – the sea and the olive trees on the terraces in the background suggest that this is close to Saranda. Young people were sent to the countryside in an effort to ensure that as city dwellers they didn’t get separated from the hardships of labour in the countryside. This was similar to what happened in China during the Cultural Revolution of 1966. As in China so in Albania some loved it, some hated it. Education given them by the revolution was then used to denigrate the Revolution’s achievements and eventually to undermine it.

Sotir Capo - The wireworker - 1969

Sotir Capo – The wireworker – 1969

A young woman working in a wire factory – where that might have been I’m not sure. What is certain is that there is no wire factory in Albania now. The building might, and probably does, still exist but it will be a mere shell, looted of anything valuable. The wire factory was in Shkoder and was supplied with raw materials from the copper enrichment plant at Rubik, Mirdite.

Spiro Kristo - Children - 1966

Spiro Kristo – Children – 1966

Albanian children were brought up with the idea that one day they might have to fight to defend their country. Unfortunately when it came to it they ran away and allowed their country, fought for with such bravery and with the loss of so much blood by their parents and grandparents, to disintegrate into chaos and disaster. A friend of mine was horrified when he saw this idea of children being taught about war but he seems to forget how that is entrenched in the culture of the capitalist ‘west’. He is also old enough to remember that many children in Britain, especially boys, had toy guns at a very young age – and ran around attempting to eliminate the entire indigenous population of America.

Spiro Kristo - The Brigade woman - 1976

Spiro Kristo – The Brigade woman – 1976

Another example of where a woman was in a position of responsibility – here a woman is keeping a record of what the Brigade has produced and who would have contributed what.

Spiro Kristo - The days of flying - 1968

Spiro Kristo – The days of flying – 1968

The idea of combat training is represented by the airman on the right playing with toy aircraft as they are involved in a dog-fight. In the background are lined up Russian or Chinese made MIG jets. Now there’s no such thing as an independent Albanian air force – I wouldn’t be surprised if there wasn’t a single trained fighter pilot in the country. Now Albania’s ‘independence’ is protected by NATO.

Stavri Cati - Electrification 02 - 1969

Stavri Cati – Electrification 02 – 1969

The emphasis that was placed upon the electrification of the country in the 1960s is demonstrated by the number of paintings that were created in that time and which would have been exhibited in museums and art galleries throughout the country. Some of these galleries still exist – however many have been closed and quite possibly looted in the early 1990s. There are some, however, where materials from the Socialist period are being ‘stored’, often haphazardly, so there is a chance of the material being available to the public view in the future.

Vasil Talo - The opening of the terraces - 1966

Vasil Talo – The opening of the terraces – 1966

A vast amount of man and women hours were expended on the creation of terraces in order to increase cultivable land in the hilly parts of the country. The sea in this picture would indicate that this is, again, in the south of the country in the area around Saranda. Until the the early 1990s the whole area on this southern part of Albania – opposite the Greek island of Corfu – would have been covered with olive and citrus trees. Many exist but many more have been destroyed to provide the ugly holiday resort of Saranda and further south still, the holiday ‘resort’ of Ksamil.

Vilson Halimi - On the frontline everywhere - 1976

Vilson Halimi – On the frontline everywhere – 1976

The only family scene in the exhibition. Note the red banner with a slogan at the entrance to the village down on the left and the white lapidar in the background on the right – a little to far away to identify exactly which one it is or where.

Vilson Kilica - Declaration of the Republic - 1982-3

Vilson Kilica – Declaration of the Republic – 1982-3

A painting which celebrates the declaration of the People’s Republic of Albania in Tirana in 1946. (The country was declared the People’s Socialist Republic of Albania in 1976.) This is one of only two images in the exhibition of the leader of the Party of Labour of Albania and the country, from 1944 till his death in 1985, Enver Hoxha. He’s the figure to the right of centre, under the flag wearing a long, grey overcoat and saluting the crowd.

Vilson Kilica - In the studio - 1986

Vilson Kilica – In the studio – 1986

This is a strange one. It’s an intimate scene of an artist’s studio where we see both the artist and one of his sitters. That sitter is Enver Hoxha, who was painted a number of times by Kilica. BUT – Kilica has depicted himself as he would have been in 1986 but the image of Comrade Enver is of him as a relatively young man at the time of the Liberation of the country in 1944, or in the few years after. Also the painting was created the year after Enver’s death. Can’t work that one out.

Vilson Kilica - The Brigadiers - 1971

Vilson Kilica – The Brigadiers – 1971

A colourful and joyful picture of a couple of young women going to work on a Collective or State Farm. The various crops are represented by the different colours in the fields in the background.

Zef Shoshi - Establishing a co-operative in Malesia - 1974

Zef Shoshi – Establishing a co-operative in Malesia – 1974

The establishment of a Co-operative would have involved long and detailed negotiations and here we see the success of those discussions with all generations of the population of this mountain village being present at the closing ceremony. The Banner to the right states: ‘Glory to the Party of Labour of Albania’.

Zef Shoshi - The turner - 1969

Zef Shoshi – The turner – 1969

Another picture of a female worker in a skilled occupation, this time as a turner in an engineering works. Again it’s unlikely the place depicted is still working and I would have thought it is very unlikely, also, that a young woman would be following such a profession in today’s capitalist Albania.

Guardians of the country - 1969 - Spiro Kristo

Guardians of the country – 1969 – Spiro Kristo

A painting which seems to be very much influenced by the early Soviet artist Alexander Deineka.

Building the hydroelectric plant - 1971 - Ismail Lulani

Building the hydroelectric plant – 1971 – Ismail Lulani

A character portrait with the construction work as a background.


This is the exhibition of Socialist Realist Art as it is as of September 2019. There are a few pictures which have been in previous displays but – for whatever reason – were not considered for this particular phase. A few of those follow:

In the industrial complex - 1974 - Lumturi Blloshimi

In the industrial complex – 1974 – Lumturi Blloshimi

A picture created before the problems of air pollution were generally accepted as being important even at the time of industrial development in a country which before Liberation had virtually no heavy industry. Albania has little problem with that 30 years after the counter-revolution as the factories and works constructed during the time of Socialism were looted and now, in the main, exist only as ruins.

The Partisan Oath - 1968 - Guri Mahde

The Partisan Oath – 1968 – Guri Mahde

A painting that puts the Party at the centre of everything – the oath is to the liberation of the country from the Fascist invader but also to the cause of Communism.

Tree Planting - 1971 - Edi Hila

Tree Planting – 1971 – Edi Hila

Another painting that celebrates collective endeavour in the countryside.

Partisan School - 1969 - Sotir Cano

Partisan School – 1969 – Sotir Cano

This is an interesting one as Cano painted at least another version. Here we have the important task, even in times of war, of the education of the Partisans – the majority of whom would have been illiterate. This version has been displayed in the National Art Gallery in recent years.

Partisan School 2 - 1969 - Sotir Cano

Partisan School 2 – 1969 – Sotir Cano

This version used to be displayed in VI Lenin Party School in Tirana. Whether it still survives may be in doubt. This has the same general composition but there are changes in the genders of some of the main figures.

Worker with hammer - 1938 - Sofia Papdhimitri

Worker with hammer – 1938 – Sofia Papdhimitri

Not a ‘Socialist Realist’ painting as it predates the Liberation of the country.

I also have the intention of adding to the blog images of other art works I have encountered in other art galleries/museums in the country. Sometimes they are difficult to find but there are still a few places where the art of the Socialist period of Albania’s history can be appreciated.

There are very few contemporary reference books on Albanian Socialist Realist Art – although there are albums of work from the erstwhile Soviet Union and the People’s Republic of China nothing comparable has been produced for Albania – but material was produced during the time of Socialist construction. Here we reproduce two of those albums, any others will be added if they become available.

Figurative Art in the People's Republic of Albania - 1969

Figurative Art in the People’s Republic of Albania – 1969

Albanian Figurative Art - Paintings - 1978

Albanian Figurative Art – Paintings – 1978

NB From the end of 2021 the gallery has been closed. I have no information about exactly why but there had long been signs of the need for structural repairs. When it will reopen I have no idea. There didn’t seem to be much activity when I was in Tirana in the summer of 2022. Neither do I have any idea of what will be exhibited. There is, I’m sure, a possibility that the items that were part of the permanent exhibition, works of Socialist Realist Art, might well be confined to the depths and the gallery will become a centre of decadent capitalist ‘art’.

More on Albania …..

Monument to Heroic Peze

Monument to Heroic Peze

Monument to Heroic Peze

More on Albania ……

Monument to Heroic Peze

Looking like a cross between a pistol and a huge road sign, the Monument to Heroic Peze sits at the junction to the village of Peze, along the old road between Tirana and Durres. This huge block of concrete, in its imagery and words, tells the story of the important role that this small village played in the war against fascist occupation (both Italian and German), the formation of the National Liberation Front and the concept of People’s Power.

The monument (Monumenti kushtuar Pezës heroikë – Monument dedicated to Heroic Peze) was inaugurated in September 1977, on the occasion of the 35th anniversary of the Albanian National Liberation Conference in Peze (the village being only 6 km from the junction where there are other monuments to the fallen, the local guerrilla unit and the conference) and is the work of sculptors Mumtaz Dhrami (who was also involved in the creation, among others of Mother Albania in the National Martyrs Cemetery in Tirana and the Monument to Independence in Vlora) and Kristo Krisilo. It symbolises the struggle and glorious history of the people of this region led by the Communist Party of Albania (which became the Party of Labour of Albania during the period of socialism) in the war for liberation of the country against Italian and German Fascism.

Inauguration of The Monument to Heroic Peze

Inauguration of The Monument to Heroic Peze

The engraving above, by Fatmir Biba, records the inauguration in 1977

When I first saw this monument in 2012 it was just plain, undecorated concrete but between then and November 2014 it had been whitewashed and then certain images, principally the stars, the double-headed eagle and some of the text, have been picked out in red and black paint. When I first saw this change in the fate of the Monument of Dema, near to Saranda in the south of Albania, I thought this was just a local change in attitude, care and maintenance rather than disregard and vandalism, but this is obviously a much more extensive approach towards the patrimony of the country.

On the edge facing Tirana

On this part of the monument there is less of a story rather more a symbolic representation of what the struggle meant to the Albanian people. From the right hand side, that closest to the main road, there’s an image of a woman facing in the direction of Tirana, seeming to look into the distance towards the capital. She’s an older woman from those normally found on such monuments, as you can make out the creases in her forehead and also her dress is not of a combatant, more of a woman of the countryside, with a scarf covering her head and on both sides of her face. Is she, possibly, a representation of Mother Albania?

It’s not quite clear but she seems to holding the top end of the barrel of a rifle in her hand. That fits in with the many other images of armed women in Albanian Socialist Realist Art and it would be somewhat strange if this is the rifle of the man to her right.

Next we have the heads of three men, all of whom are looking in the direction of the village of Peze. Are we getting here a link between the capital and Peze? Without the conference and the anti-Fascist organisation that resulted in it the chances of victory and the liberation of the capital would have been reduced.

These heads represent the unity within the country, from the Communist (who is closest to the woman and whose star on his cap is now painted red and who has a bandolier across his shoulders) to the facial characteristics of Albanians from different parts of the country, symbolising that victory was a nation wide achievement. For such a small country and tiny population there are a huge number of distinctive facial differences between those in the north and those in the south. The third male from the woman also seems to be wearing a sheepskin collar to his jacket (similar to the separate, standing individual on the other side).

In front of them a disembodied hand holds high what looks like a bayonet, again pointing in the direction of the village. In front of this are the words, in Albanian, “Populli në këmbë, partia në ballë” that mean: “The People standing up, the Party in the vanguard.” And next to these words a large star, now picked out in red.

Underneath the faces are the words: “Lavdi Pezës heroike ku u vunë themelet e Frontit Nacional Çlirimtare dhe të pushtetit popullor”, which translate to: “Glory to Heroic Peze – where were laid the foundations for the National Liberation Front and People’s Power.” The larger, first words now also painted red.

The facade towards Durres.

From the left the letters VFLP, now picked out in alternate red and black, an initialism for “Vdekje Fashizmit – Liri Popullit!” (“Death to Fascism – Freedom to the People!”) a slogan and an oath which Partisans used to express their unity of purpose.

Then there’s the slogan in Albanian: “Historia e Pezës dhe e popullit të të gjithë kesaj krahine është një histori e lavdishme që do të na frymëzojë në shekuj” which means: “The story of Peze, and of all the people of this province, is a glorious history that will inspire us through the centuries.”

Then there’s a male Partisan fighter, standing with one leg higher than the other as if he were climbing a mountain. His right hand is raised above his head in the revolutionary salute, with the clenched fist. He is wearing a cap with a red star (but this hasn’t been picked out in red with the recent painting). The butt of his rifle, the barrel of which he holds in his left hand, is resting on the ground. His shirt is open at the neck and hanging from his shoulder, on a strap across his chest, is a water bottle. Around his waist he wears a bandolier holding spare cartridges and on his right hip rests a British made Mills bomb (fragmentation grenade). His jacket seems to lined with sheepskin as it looks like a fleece showing where it is open.

To his left is a çeta (guerrilla unit) of 12 marching towards Peze, both in the sense that they head to the village which is 6 kilometres from this junction and also to the buildings depicted on the monument itself. The face of the topmost of the group, towards the back, has suffered damage and only half the face exists. There’s only one woman Partisan and she is in the middle with a light sub-machine gun in her right hand, relaxed downwards as they are not in a combat situation. Not all the weapons of the group are shown but one of the male Partisans, in the middle, has his rifle raised above his head, extending over the heads of those in front and behind him.

There are faint red stars (again not picked out in red since the recent painting) on most of the caps worn by the group, including the cap of the female. The fourth male from the front carries a pole and the flag flutters over his head. On this flag there’s the double-headed eagle and star – but again these are faint and haven’t been highlighted in the recent cleaning/renovation.

In the arms of one of the leading males is a woman, in the traditional dress of the time, with her face very close to his. This is, presumably, his wife as just behind and below her is a young boy in the process of running to his father.

They have just come from Peze which is represented by the a few buildings up a hill side, towards the front of the monument. Superimposed over the houses is a large (now) red star, providing the accolade that was given to Peze during the time of socialism – Red Peze for having played a pivotal role in the formation of the National Liberation Front. Underneath are the words “Pezë,16 shtator 1942” which translate as: “Peze, September 16, 1942”, the date of the Conference. The name of the village is now painted red and the date in black.

The narrow facade facing the main road.

This is a battle scene. On the immediate left is a depiction of the double-headed eagle, with a large red star above the heads. The eagle has been painted black and the star a bright, crimson, revolutionary red.

To the right of that is the battle scene itself. This is not really that easy to make out, this edge facing more or less north and never really getting the sun on it to bring out the shadows of the relief. Also, because of its northerly aspect it has been subject to more weathering, not serious damage as far as I could see, but there’s staining that would come from the dampness staying on that part more than the two larger faces.

First there’s a male Partisan, down on one knee and in his right hand he holds a stick grenade (almost certainly ‘liberated’ from the Nazi invader and now being returned to the rightful owner) which he’s just about to throw. In his left hand he holds a rifle which is pointed in the direction of the enemy. He’s bare-chested, his shirt flying out behind him as he puts all his effort in throwing the bomb.

On his left, close together and all pointing and firing their rifles in the same direction, are 4 Partisans, three male and one female. The second male wears a fez cap, typical of the people from the area at the time, and the woman of this group wears a cap, which would normally have a red star on the front but it’s difficult to make that out due to the weathering. They are on a slight diagonal going up from left to right.

Behind this group stands a male partisan with a rifle, but not one that is firing at the enemy. He is looking back and I can’t make out at what, if anything. It also looks to me that there may be a flag attached to his rifle which is flying back over his head. This might represent the call for others to come and join the battle.

To his left there is a woman fighter firing a machine gun supported on a tripod. Behind her and barely visible is another fighter wearing a conical, felt hat typical of the north. His rifle is over her left shoulder pointing in the direction of the enemy.

I’m not sure if it’s just the weathering but above her head it appears to be the image of a building, if so this would be a representation of a building that would have been normal in Peze at the time of the beginning of the war – virtually all of Peze was razed to the ground during the National Liberation War.

GPS:

N 41.25917103

E 19.69045102

DMS:

41° 15′ 33.0157” N

19° 41′ 25.6237” E

Altitude: 63.4m

Getting there by public transport.

There are regular buses (every ten minutes or so during the day) leaving from the centre of Tirana which have the destination of Ngoc. The Tirana terminus is a short distance from Skanderbeg Square on Rruga Karvajes, opposite the German Hospital and just a few metres east of Rruga Naim Fresheri. Cost is 40 lek. Just wait by the side of the road, just a short distance up the hill, to go back to Tirana. This route also passes the road that leads to the cemetery where the grave of Enver Hoxha is located, in Kombinant. The bus that goes off the main road to Peze is less frequent and details can be found on the post for the Peze Conference Memorial Park.

More on Albania ….

Monument to the Artillery – Sauk

 

Monument to the Artillery - Sauk

Monument to the Artillery – Sauk

More on Albania ……

Monument to the Artillery – Sauk

Although the plan is to attempt to record all the monuments from the socialist period in Albania’s history there are, and will be, occasions when I will have arrived too late. Either the ‘democrats’ (a mixture of monarchists and neo-fascists) have got there first and destroyed the works of Socialist Realist art as it represents all that they despise and fear – such as any of the statues of Enver Hoxha – or those lumpen elements who see only scrap value in a piece of metal – that has led to the damage to the statue of the Five Heroes of Vig in the northern city of Shkodër. Destruction and vandalism has been the fate of the Monument to the Artillery in the hills to the south of Tirana, close to the town of Sauk.

Even during the time of socialism in Albania this area was probably not that accessible. Now abandoned, two military barracks and a network of tunnels had been constructed on the ridge that looks down on the artificial lake and the forested area that is Tirana Park.

During the National Liberation War this would have been even more inaccessible, with no drivable roads from the valley to the ridge. However, this inaccessibility didn’t prevent a unit of the 3rd Shock Brigade of the Partisan army from transporting a short-barrelled mountain gun to the top in order to disrupt the plans of the German Nazis from establishing some element of legitimacy to their occupation of the country with the setting up of a ‘Quisling’ government.

The date chosen for this sham was the 18th October 1943 and on that day the Albanian traitors met in the Victor Emmanuel III Palace on the outskirts of the city of Tirana. This building seems to be a magnet for fascists, traitors and despots as this is where the remains of Ahmet Muhtar Bej Zogu (the self-proclaimed ‘King’ Zog) were interred when they were brought back to Albania in 2012.

Firing across the valley the small piece of artillery hit its target and caused the suspension of the meeting. For this reason, following the independence of the country with the defeat of the Nazis and the liberation of the country from all foreign forces at the end of November 1944, the 18th October was declared the Day of the Artillery of the People’s Army.

And for that reason the Monument to the Artillery of the National Liberation Army was established in the hills above Sauk.

The monument involved the work, skill and imagination of three sculptors – Kristaq Rama, Muntas Dhrami, Shaban Hadëri (who also collaborated on a number of other sculptures, including Mother Albania at the National Martyrs’ Cemetery and the Monument to Independence in Vlora) – and the architect R Kote.

(It’s perhaps pertinent here to make a comment about the construction of monumental art in a socialist society. An aspect which makes Socialist Realism not only an art for a specific class of people but also a new way of producing public art is the collaborative manner in which artists are encouraged to work. This is a big issue and I don’t intend to go into any greater detail here but the individuality that most ‘intellectuals’ crave, demand and expect gets challenged in a socialist society. This might explain why some of those Albanian intellectuals and artists now hold the views they do. Examples of this would be the writer Ismail Kadare who no longer lives in his own country; Agim Nebiu, who was an active participant in the vandalism of the Albania Mosaic on the National Historical Museum, of which he was one of the designers; and Hektor Dule, who created the statue of Azim Hajdari, one of the leaders of the counter-revolution in 1990.)

The artillery monument was constructed of concrete with the relief being of bronze. Inauguration was in 1968.

The columns were typical of the style that was adopted throughout the country. This time two rectangular columns, of about 10 metres, are at right angles to each other with the shape of a star cut into a red background almost at the top of the tower. The base on which these columns sit was faced with white and red marble on to which the story of the attack on the Quisling assembly was written. In 2014 there were only small fragments of the marble in existence, most of it being smashed and some of it still littering the site.

Artillery lapidar - Sauk - 1971

Artillery lapidar – Sauk – 1971

(The area around the monument in happier times – published in issue No 5, 1971, of New Albania.)

A wall that held the bronze bas-relief has completely disappeared, as has the metal. Whether this was stolen out of pure theft or political vandalism I don’t, as yet, know for certain. This today is still an isolated site but 20 or 30 years ago would have been more so. That would have made either option relatively easy and unobserved.

The relief depicted six Partisan fighters, five men and one woman. The lead man has a pair of binoculars up to his face and would have been looking in the direction of the Victor Emmanuel III Palace. Behind him is a woman with a rifle on her back.

Next is the gun crew and their short barrelled mountain gun. There’s a commander pointing in the direction of fire and a gun aimer is down on his knees making the necessary adjustments to the angle of the barrel to determine the range and trajectory of the shell. Behind him a Partisan holds the shell that is soon to be dropping on the heads of the Fascist collaborators and traitors. The sixth man of the group holds the reigns of the horse that had contributed to dragging the gun into position in the first place.

In 1979 the artist Petro Kokusta created a depiction of this event in a painting entitled ‘Shelling the traitor’s assembly’ which is presently on display on the first floor of the National Art Gallery in Tirana.

Shelling the traitor's assembly - 1979 - Petro Kokushta

Shelling the traitor’s assembly – 1979 – Petro Kokushta

Not only is the monument in ruins the whole of the area is a rubbish strewn mess. The paths are overgrown and the area emits an atmosphere of neglect and dereliction. That’s a shame as from this vantage point you can get one of the finest views of the city of Tirana, with the Datji Mountain range in the background. The day I visited was the worst day, visibility wise, of my visit in November 2014 and the picture is pretty muggy. Next time I will visit on a better day and, hopefully, be able to provide a more accurate photographic impression of the possibilities.

Because this range isn’t as inaccessible now as it used to be. From the top end of Sauk a newly surfaced tarmac road climbs towards the first ridge where the local cemetery is located. The road continues to a second higher ridge which is where the ruined monument can be found. (Looking up from the centre of Sauk you should be able to make out two man-made structures, the columns of the Artillery Monument and a sharply pointed obelisk which stood over a military barracks.)

This road is Rruga Xhrebahimi and, I assume, was built primarily to serve the old barracks. But now it is a very fine, well made and smooth surfaced road – but it basically goes nowhere and is indicative of the ‘development’ under ‘democracy’.

As I was going along this new road I couldn’t work out why no traffic was passing me in either direction until a single motorbike passed me. As I walked uphill towards the high pass I passed a group of six workmen who were making ‘improvements’ to the road which weren’t necessary. They were merely shovelling spadefuls of gravel on the edge of the tarmac and then using a light steamroller to keep it in place (until the next rainy day). A completely useless and wasteful task – apart from keeping them employed.

When I arrived at the pass I realised why there was no real traffic on such a well made road. At the top there was a section of from 100-150 metres where the road was just a rough and rutted dirt track. The road then continued down the other side of the hill, going for how long and to where I know not. Why this crucial section hadn’t been completed I can only speculate. Corruption? Inefficiency? Bad planning? Probably a mix of all of them.

There would be, however, some people who will benefit from this road. Being built very close to the road, in a location which meant that the patios would look down towards the Tirana Park Lake and the city were a small handful of very expensive looking houses. This road, no doubt paid for by public money, would make it very easy for them to get home. What the people of Sauk thought of this road I wasn’t able to discover. They must have wondered why such a road was being built to nowhere when the roads in the town are just falling apart.

GPS:

N41º.29555302

E19º.80888203

Altitude: 328.9m

Getting there.

There are buses leaving at regular intervals, destination Sauk, from the bus station that is located in the square to the south of the Opera/National Library building (not far from The Partisan statue). Get off at the terminus and head for the hills in the direction that the bus had been travelling before you alighted. Cost 30 lek.

It’s a bit of a hike and must be close to 3 kilometres in distance. Once you get to the pass and the temporary end of the road take the narrow path off to the right, on the Sauk side of the hill and follow this to the monument. If you take the wider path off to the left, going pass some tunnels you will arrive at an abandoned military barracks and the site of the pointed obelisk (with a now sad-looking red star at its apex). Chose a good, clear day and you will be rewarded with a fine view of the city and the mountains (as well as, possibly, a sight of the coast).

More on Albania ……