The purpose of the research is to analyze the Soviet art of the post-war decade in order to identify the vectors of human projection in the reality of the «post-war world», as well as alternative versions set by the response to the post-traumatic experience of the war and the severity of the post-war reconstruction period. The theoretical difficulties of researching this period are formulated: the fractures between cultural policy's attitudes toward state patriotism and nationalism, and the demands of the mass consumer. It is hypothesized that the most vulnerable point of cultural policy and artistic activity was the reassessment of the experience of life under war conditions and the problem of rethinking the role of conflicts, their new types and representations. We characterize the attitudes of the two main streams of official art from the point of view of their influence on the adaptive potential of a person. The order «from above» for works broadcasting state patriotism, supported by a series of party and government decrees, is qualified as inadequate to the real cultural and anthropological state of consumers. The second, wider spread, stream of artistic production transmits the values of everyday life in its non-heroic modus, private and family scenes, harmony with nature, and the idyll of human connections. We define this stream as a version of Soviet Biedermeier, an analog of the European type of art that emerged in the first third of the nineteenth century as a reaction to wars and revolutions, as a stylistic design of the autonomy of the bourgeoisie. Like its historical predecessor, Soviet Biedermeier distanced itself from reflection on the traumatic experience of war, developing and reinforcing the values of privacy at the cost of isolation from large socially significant projects.