Poster in revolutionary Russia: from popular print to realism. Fundamentals of understanding graphics Painting graphics poster in the service of the new government

Not only in Leningrad, but also in Moscow - the two most active artistic centers of the country - there are increasingly calls to contrast the Soviet poster with the Western one, and increasingly the familiarity of Russian artists with the works of their German colleagues, the achievements of French or American graphic artists, is seen as a harmful influence. Even such a master as Lissitzky, whose work in the 1920s. was closely connected with the world artistic process, once again emphasized in the preface to the catalog All-Union Printing Exhibition 1927 that it was the October Revolution of 1917 that contributed to the creation of new industrial graphics. Noting that in Germany the poster “was used politically,” Lissitzky still insisted that “only here it was molded into a clear social and artistic form.” .

Lissitzky’s theses about the innovative essence and social activity of Russian photomontage were vividly illustrated by posters at the 1927 exhibition Klutsis And Senkina. In their work, photomontage, the heated debate about which continued throughout the 1920s, acquired a special life. They knew how to give the sheets dedicated to the party's appeals and industrial plans a multifaceted plot and a special visual polyphony. Sharply, actively comparing fragments of natural, documentary photography with conventional graphic elements, these masters increased the scale of the poster form, giving it increased monumentality and even a certain epic quality.

Klutsis was a founding member association "October", whose declaration, published in June 1928, stated that all types of art - both traditional - painting, graphics, and "industrial" - posters, photography or cinema - should first of all "serve the working people" in the area " ideological propaganda,” as well as in the sphere of “production and direct organization of everyday life.” And almost all the sheets Klutsis, in which photographic frames are combined with font compositions ("From NEP Russia will be socialist Russia" (No. 14)) or in which color contrasts are vividly used ("Komsomol members, on the shock sowing!" (No. 15)) are dedicated specifically to ideological propaganda. Distinguished by their visual power and special dynamism, which was often created by unexpected visual accents (“The development of transport is one of the most important tasks for the implementation of the five-year plan” (No. 16)), the posters of Klutsis or his follower Senkin were perceived by many as those very “proletarian paintings” about which were written by constructivist theorists. It is interesting that the birth of some sheets was preceded - as in the case of easel painters - by a “study period”, a time of accumulation of natural material. They made trips to the industrial regions of the country, and in the Donbass, for example, they photographed expressive types of miners, who later became the central images of poster compositions (“Let’s return the coal debt to the country” (No. 13)).

Klutsis defended these theses during the discussion at the Institute of Literature, Art and Language at the Communist Academy, which unfolded thanks to the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks adopted in March 1931 "About poster literature". It stated “an unacceptably ugly attitude towards posters and paintings on the part of various publishing houses... which was reflected in the release of a significant percentage of anti-Soviet posters.”

In this regard, management of "poster products" was transferred Department of Agitation and Mass Campaigns of the Central Committee, a system of strict ideological review was introduced with the involvement of not only official censorship, but also students of the Institute of Red Professorship. It was also proposed to organize “preliminary discussions” at enterprises, where ordinary workers had to develop topics, as well as view sketches and finished “pictures and posters”.

Thus, the poster was one of the first to be subject to strict regulation by the party authorities, and artistic disputes ended in total ideological control.
A book was published in 1932 "For the Bolshevik poster", in the preface of which it was emphasized: “Comrade Stalin’s instructions require the front of the proletarian arts to give the toughest rebuff to all deviations from Leninism.” Here came the main instruction: “The first and main requirement that we must present to the poster is political, ideological saturation; it must contain content emanating from our reality in the dialectical-materialist interpretation of it.”

The culture of the Soviet and post-Soviet period is a bright large-scale round of Russian heritage. The events of 1917 became the reporting point in the development of a new way of life and the formation of a new way of thinking. The mood of society in the 19th - early 20th centuries. resulted in the October Revolution, a turning point in the history of the country. Now a new future awaited her with its own ideals and goals. Art, which in a sense is a mirror of the era, also became a tool for implementing the tenets of the new regime. Unlike other types of artistic creativity, painting, which forms and shapes human thought, penetrated into people's consciousness in the most accurate and direct way. On the other hand, pictorial art was least subordinate to the propaganda function and reflected the experiences of the people, their dreams and, above all, the spirit of the time.

Russian avant-garde

The new art did not completely avoid the old traditions. Painting, in the first post-revolutionary years, absorbed the influences of the futurists and the avant-garde in general. The avant-garde, with its contempt for the traditions of the past, which was so close to the destructive ideas of the revolution, found adherents in the form of young artists. In parallel with these trends, realistic trends developed in the visual arts, which were given life by the critical realism of the 19th century. This bipolarity, which matured at the moment of changing eras, made the life of the artist of that time especially tense. Although the two paths that emerged in post-revolutionary painting were opposites, we can nevertheless observe the influence of the avant-garde on the work of realistic artists. Realism itself in those years was diverse. Works of this style have a symbolic, propaganda and even romantic appearance. The work of B.M. absolutely accurately conveys in symbolic form the grandiose change in the life of the country. Kustodieva - “Bolshevik” and, filled with pathetic tragedy and uncontrollable jubilation, “New Planet” by K.F. Yuona.

Painting by P.N. Filonov with his special creative method - “analytical realism” - is a fusion of two contrasting artistic movements, which we can see in the example of the cycle with the propaganda name and meaning “Entering the World’s Heyday”.

P.N. Filonov Ships from the series Entering into global prosperity. 1919 Tretyakov Gallery

The unquestioning nature of universal human values, unshakable even in such troubled times, is expressed by the image of the beautiful “Petrograd Madonna” (official title “1918 in Petrograd”) by K.S. Petrova-Vodkina.

A positive attitude towards revolutionary events infects the light and filled with a sunny, airy atmosphere creativity of the landscape painter A.A. Rylova. The landscape “Sunset”, in which the artist expressed a premonition of the fire of revolution, which will flare up from the growing flame of the judgment fire over the past era, represents one of the inspiring symbols of this time.

Along with symbolic images that organize the rise of the people's spirit and carry them along, like an obsession, there was also a trend in realistic painting, with a craving for a concrete representation of reality.
To this day, the works of this period contain a spark of rebellion that can express itself within each of us. Many works that were not endowed with such qualities or that contradicted them were destroyed or forgotten, and will never be presented to our eyes.
The avant-garde forever leaves its mark on realistic painting, but a period of intensive development of the direction of realism begins.

Time for artistic associations

The 1920s are the time of creation of a new world on the ruins left by the Civil War. For art, this is a period in which various creative associations developed their activities in full force. Their principles were shaped in part by early artistic groups. The Association of Artists of the Revolution (1922 - AHRR, 1928 - AHRR), personally carried out orders from the state. Under the slogan of “heroic realism”, the artists who were part of it documented in their works the life and everyday life of man - the brainchild of the revolution, in various genres of painting. The main representatives of AHRR were I.I. Brodsky, who absorbed the realistic influences of I.E. Repin, who worked in the historical-revolutionary genre and created a whole series of works depicting V.I. Lenina, E.M. Cheptsov - master of the everyday genre, M.B. Grekov, who painted battle scenes in a rather impressionistic manner. All these masters were the founders of the genres in which they performed most of their work. Among them, the canvas “Lenin in Smolny” stands out, in which I.I. Brodsky conveyed the image of the leader in the most direct and sincere form.

In the film “Meeting of the Membership Cell” E.I. Cheptsov very reliably, without contrition, depicts the events that took place in the life of the people.

M.B. creates a magnificent joyful, noisy image filled with stormy movement and celebration of victory. Grekov in the composition "Trumpeters of the First Cavalry Army".

The idea of ​​a new person, a new image of a person is expressed by the trends that have emerged in the portrait genre, the bright masters of which were S.V. Malyutin and G.G. Ryazhsky. In the portrait of the writer-fighter Dmitry Furmanov S.V. Malyutin shows a man of the old world who managed to fit into the new world. A new trend is manifesting itself, which originated in the work of N.A. Kasatkina and developed to the highest degree in the female images of G.G. Ryazhsky - “Delegate”, “Chairwoman”, in which the personal principle is erased and the type of person created by the new world is established.
An absolutely accurate impression is formed about the development of the landscape genre when seeing the work of the leading landscape painter B.N. Yakovleva - “Transport is getting better.”

B.N. Yakovlev Transport is getting better. 1923

This genre depicts a renewing country, the normalization of all spheres of life. During these years, the industrial landscape came to the fore, the images of which became symbols of creation.
The Society of Easel Artists (1925) is the next artistic association in this period. Here the artist sought to convey the spirit of modernity, the type of a new person, resorting to a more detached transmission of images through a minimal number of expressive means. The works of "Ostovtsev" often demonstrate the theme of sports. Their painting is filled with dynamics and expression, as can be seen in the works of A.A. Deineki "Defense of Petrograd", Yu.P. Pimenova "Football" and others.

As the basis for their artistic creativity, members of another well-known association - “The Four Arts” - chose the expressiveness of the image, due to the laconic and constructive form, as well as a special attitude to its coloristic saturation. The most memorable representative of the association is K.S. Petrov-Vodkin and one of his most outstanding works of this period is “The Death of a Commissar,” which, through a special pictorial language, reveals a deep symbolic image, a symbol of the struggle for a better life.

Among the members of the “Four Arts” P.V. also stands out. Kuznetsov, works dedicated to the East.
The last major artistic association of this period seems to be the Society of Moscow Artists (1928), which differs from the others in the manner of energetic sculpting of volumes, attention to chiaroscuro and plastic expressiveness of form. Almost all of the representatives were members of the "Bubnovy Volt" - adherents of futurism - which greatly affected their creativity. The works of P.P. were indicative. Konchalovsky, who worked in different genres. For example, portraits of his wife O.V. Konchalovskaya conveys the specificity of not only the author’s hand, but also the painting of the entire association.

By the decree “On the restructuring of literary and artistic organizations” on April 23, 1932, all artistic associations were dissolved and the Union of Artists of the USSR was created. Creativity has fallen into the sinister shackles of rigid ideologization. The freedom of expression of the artist - the basis of the creative process - has been violated. Despite this breakdown, artists previously united in communities continued their activities, but new figures took leading importance in the pictorial environment.
B.V. Ioganson was influenced by I.E. Repin and V.I. Surikov, in his canvases one can see a compositional search and interesting possibilities in coloristic solutions, but the author’s paintings are marked by an excessive satirical attitude, inappropriate in such a naturalistic manner, which we can observe in the example of the painting “At the Old Ural Factory.”

A.A. Deineka does not stay away from the “official” line of art. He is still true to his artistic principles. Now he continues to work in genre themes, and also paints portraits and landscapes. The painting “Future Pilots” shows well his painting during this period: romantic, light.

The artist creates a large number of works on a sports theme. His watercolors painted after 1935 remain from this period.

Painting of the 1930s represents a fictional world, the illusion of a bright and festive life. It was easiest for the artist to remain sincere in the landscape genre. The genre of still life is developing.
The portrait is also subject to intensive development. P.P. Konchalovsky writes a series of cultural figures (“V. Sofronitsky at the piano”). Works by M.V. Nesterov, who absorbed the influence of painting by V.A. Serov, show a person as a creator, the essence of whose life is creative search. This is how we see the portraits of the sculptor I.D. Shadra and surgeon S.S. Yudina.

P.D. Korin continues the portrait tradition of the previous artist, but his painting style consists of conveying rigidity of form, a sharper, more expressive silhouette and harsh coloring. In general, the theme of the creative intelligentsia plays a great role in the portrait.

Artist at war

With the advent of the Great Patriotic War, artists began to take an active part in hostilities. Due to direct unity with events, in the early years works appear, the essence of which is a recording of what is happening, a “picturesque sketch”. Often such paintings lacked depth, but their rendering expressed the artist’s completely sincere attitude and the height of moral pathos. The portrait genre is coming to relative prosperity. Artists, seeing and experiencing the destructive influence of war, admire its heroes - people from the people, persistent and noble in spirit, who showed the highest humanistic qualities. Such trends resulted in ceremonial portraits: “Portrait of Marshal G.K. Zhukov" brushed by P.D. Korina, cheerful faces from the paintings of P.P. Konchalovsky. Portraits of the intelligentsia M.S. are important. Saryan, created during the war years, is the image of academician “I.A. Orbeli”, writer “M.S. Shaginyan" and others.

From 1940 to 1945, the landscape and everyday genre also developed, which A.A. combined in his work. Plastov. “The Fascist Flew Over” conveys the tragedy of life during this period.

The psychologism of the landscape here further fills the work with sadness and silence of the human soul, only the howl of a devoted friend cuts through the wind of confusion. Ultimately, the meaning of the landscape is rethought and begins to embody the harsh image of wartime.
Thematic paintings stand out separately, for example, “Mother of the Partisan” by S.V. Gerasimov, who is characterized by a refusal to glorify the image.

Historical painting promptly creates images of national heroes of the past. One of such unshakable and confidence-inspiring images is “Alexander Nevsky” by P.D. Korina, personifying the unconquered proud spirit of the people. In this genre, towards the end of the war, a tendency toward simulated dramaturgy is emerging.

The theme of war in painting

In post-war painting, ser. 1940 - end In the 1950s, the theme of war, as a moral and physical test, from which Soviet people emerged victorious, occupied a leading position in painting. Historical-revolutionary and historical genres are developing. The main theme of the everyday genre is peaceful labor, which was dreamed of during the long war years. The canvases of this genre are permeated with cheerfulness and happiness. The artistic language of the everyday genre becomes narrative and tends toward life-likeness. In the last years of this period, the landscape also undergoes changes. In it, the life of the region is revived, the connection between man and nature is again strengthened, and an atmosphere of tranquility appears. Love for nature is also glorified in still life. The portrait is developing interestingly in the works of various artists, which is characterized by the transfer of the individual. Some of the outstanding works of this period were: “Letter from the Front” by A.I. Laktionov, a work like a window into a radiant world;

the composition “Rest after the battle”, in which Y.M. Neprintsev achieves the same vitality of the image as A.I. Laktionov;

work by A.A. Mylnikova's "On Peaceful Fields", joyfully rejoicing about the end of the war and the reunification of man and labor;

original landscape image of G.G. Nyssky - “Above the Snows”, etc.

Severe style replacing socialist realism

Art 1960-1980s is a new stage. A new “severe style” is being developed, the task of which was to recreate reality without everything that deprives the work of depth and expressiveness and has a detrimental effect on creative manifestations. He was characterized by conciseness and generalization of the artistic image. Artists of this style glorified the heroic beginning of harsh everyday work, which was created by the special emotional structure of the picture. The “severe style” was a definite step towards the democratization of society. The main genre in which adherents of the style worked was the portrait; group portraits, everyday genres, historical and historical-revolutionary genres were also developing. Prominent representatives of this period in the context of the development of the “severe style” were V.E. Popkov, who painted many self-portraits and paintings, V.I. Ivanov is a supporter of group portraits, G.M. Korzhev, who created historical paintings. The essence of the “severe style” can be seen in the film “Geologists” by P.F. Nikonova, “Polar Explorers” by A.A. and P.A. Smolinykh, "Father's Overcoat" by V.E. Popkova. In the landscape genre, interest in northern nature appears.

Symbolism of the era of stagnation

In the 1970-1980s. A new generation of artists is being formed, whose art has influenced to some extent the art of today. They are characterized by symbolic language and theatrical spectacle. Their painting is quite artistic and virtuosic. The main representatives of this generation are T.G. Nazarenko ("Pugachev"),

whose favorite theme was celebration and masquerade, A.G. Sitnikov, who uses metaphor and parable as a form of plastic language, N.I. Nesterova, creator of controversial paintings (“The Last Supper”), I.L. Lubennikov, N.N. Smirnov.

Last Supper. N.I. Nesterova. 1989

Thus, this time appears in its diversity and diversity as the final, formative element of today's fine art.

Our era has revealed a huge wealth of the pictorial heritage of previous generations. The modern artist is not limited by practically any framework that was decisive, and sometimes hostile, for the development of fine art. Some contemporary artists try to adhere to the principles of the Soviet realistic school, while others find themselves in other styles and directions. The trends of conceptual art, which are ambiguously perceived by society, are very popular. The breadth of artistic expression and ideals that the past has provided us must be rethought and serve as the basis for new creative paths and the creation of a new image.

Our master classes on art history

Our Gallery of Contemporary Art not only offers a large selection of Soviet art and post-Soviet painting, but also conducts regular lectures and master classes on the history of modern art.

You can sign up for a master class, leave your wishes for the master class you would like to attend by filling out the form below. We will definitely give you an interesting lecture on the topic of your choice.

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The style of the lubok had a great influence on what the first Russian political posters were, which appeared during the First World War (1914-1918) and the revolutionary events of 1917. Vera Panfilova, head of the fine arts department of the State Central Museum of Contemporary History of Russia, spoke to the BBC about the 1917 posters.

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After February 1917, representatives of almost all political movements, with the exception of the Bolsheviks and Menshevik internationalists, declared the need to continue the war until victory and loyalty to Russia’s allied obligations. In order to continue this war, the government needed monetary contributions from the population. In 1916, the so-called State 5.5% loan arose. After February 1917 it became the Liberty Loan. The Kustodievsky soldier has become a symbol: against the backdrop of red banners, he asks for money to continue the war. In the future, the soldier will be on almost all posters of 1917 - from February to October. Material by Alexandra Semenova, BBC Russian Service.

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Different style. Event poster. This is a kind of picture from TV. On the poster is Voskresenskaya Square and the building of the Moscow City Duma (later the Lenin Museum, and now the Historical Museum). Everything was in full swing here in March 1917. This is an event picture. Record an event, an impulse. Because the revolution was expected and was enthusiastically accepted. The population perceived the revolution as the beginning of a new era in the history of the country. The broadest masses supported February. And all this took place against the backdrop of an ongoing war. And hence the demand and development of graphics.

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It's not really a poster. This is an illustrated leaflet. Why is that? Because in Russia power is personified. Power comes from the leaders, from the leaders. Based on the personification and need to popularize the leaders of the new Russia, illustrated leaflets like these were published. Here are members of the Provisional Government, headed by Duma Chairman Mikhail Rodzianko. In the bottom row, third from left is the first socialist in the government, Alexander Kerensky. Kerensky was also printed in separate sheets; he was one of the most popular. The left movement actively promoted its own. His rating was very high. Here on the poster, on the leaflet - the Tauride Palace, flags, slogans. There are loudmouths in the back. With a bugle flag. Revolutionary car. Many men with weapons in their hands. Left. And the slogans of the left. And the Socialist Revolutionary slogans “Land and Freedom” and “In the struggle you will find your right.” There are no Bolsheviks here yet.

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This is a poster from the Parus publishing house, a leftist publishing house. It was known even before the revolution. Maxim Gorky stood at the origins of this publishing house. The publishing house published not only magazines, but also books, including Lenin’s works. Such famous poets and artists as Vladimir Mayakovsky and Alexey Radakov were brought in for left-wing posters. This poster represents the tradition of popular prints and, at the same time, a certain forerunner of comics. This is a story in a picture. First, who did the soldier protect before? These are bourgeois. And the soldier is forced to defend a system that is completely rotten.

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In March 1917, Nicholas abdicated the throne and at the same time a Provisional Government was created. And on this poster there is “Memoir of the People’s Victory.” The same revolutionary forces are here: the armed soldier, the armed worker. Removed ermine mantle. Kneeling Nicholas hands over the crown. Trampled scepter and orb. And in the background is the Tauride Palace, where State Duma deputies met. And the sun rises above it as a symbol of freedom. This symbol will then be repeated in posters. The revolution in this short period (until October) was presented as something bright, kind, sunny, but then, after October, with the beginning of the Civil War, the revolution ceased to be a young lady in white clothes.

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Poster by Mayakovsky's colleague at the Parus publishing house, Alexey Radakov. This is the so-called social pyramid. Social pyramid stories have been surprisingly popular since the early 20th century. The first social pyramid by the artist Lokhov was published in Geneva in 1891. And then redrawings and based on motives - many options were created. Here, too, there is an appeal to the traditions of lubok with a clear meaning for the broad masses. From above everything is covered with an ermine mantle. Remember what Nicholas II wrote about his profession during the All-Russian population census of 1897? He wrote: “The owner of the Russian land.” The most popular satirical stories before the summer of 1917 were anti-clerical and anti-monarchical, aimed specifically at Emperor Nicholas II and his wife Empress Alexandra Feodorovna.

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In the fall of 1917, the first general election campaign in history began in Russia. And she was fierce and uncompromising. Several dozen parties and associations, both political and national, took part in the elections. Among those taking part in the elections, the most numerous was the Socialist Revolutionary Party.

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"Democracy will defeat anarchy." This is the cadet party. An essential detail of the poster is the combination of animalistic and mythological images - a lizard (anarchy) and a knight on a white horse (democracy). Overload with text reduced the effectiveness of the impact on the viewer, which subsequently, to some extent, influenced the election results.

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Compare the previous poster with this one. Social Revolutionaries. The election campaign was carried out competently. The victory of the Socialist Revolutionaries was predetermined by such well-organized agitation. Everything is as it should be on the poster. Addressed to workers and peasants. Clear and precise slogans - “Land and Freedom”. "Let's break the chains and the whole globe will be free." According to the author’s plan, two streams of workers and peasants, when united, will definitely come to the polling station.

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As for the Bolsheviks, the RSDLP, they did not consider it necessary to pay attention to artistic propaganda - that is, to the poster. But they knew how to draw conclusions from mistakes. And when the Civil War broke out, all the forces of the “Reds” were thrown into political artistic agitation. The same Radakov, Mayakovsky, and others participated in the creation of the famous “Windows of GROWTH”, which became a Soviet “brand” and a classic of world poster art. And whites lost in terms of visual propaganda - there are still a lot of unnecessary details and a lot of text. No one will read Denikin's well-written, multi-column program on a poster.

This period (due to obvious historical changes) is characterized by a change in the main line of official art compared to the previous stage of development of Russian art. Ideological content begins to come to the fore.

Art belongs to the people. It must have its deepest roots in the very depths of the working masses, it must be understood by these masses and loved by them. It must express the feelings, thoughts and will of these masses, raise them. It should awaken the artists in them and develop them.

The main “tasks” of Soviet art: “to serve the people, to defend the common cause of the struggle for socialism and communism, to bring truth to people, to give birth to creativity in them.”

In addition, nationality and multinationality were important concepts.

Periodization 1917-1990:

1 1917-1922 – art of the period of revolution and civil war

2 1922-1932 - Marx's theory stops working, Nepa's theory

3 1932-1941 – art of the 30s, party principles, socialist realism

4 1941-1945 - art of the Second World War, all art for the front, for victory, graphics, Soviet political posters come first, in painting historical paintings of landscapes.

5 1945-1960 - art of the post-war years

6 1960-1980 - era of Brezhnev stagnation

Soviet art criticism divided the masters of Soviet painting of this period into two groups:

Artists who sought to capture subjects in the familiar visual language of factual display

Artists who used a more complex, figurative perception of modernity. They created images and symbols in which they tried to express their “poetic, inspired” perception of the era in its new state.

2 Painting from the period of revolution and civil war 1917-1922. Art of the Revolution and Civil WarAlready in the first months after coming to power, the Soviet government adopted a number of resolutions important for the development of culture:

In November 1917, under the People's Commissariat of Education, the Collegium for Museums and the Protection of Monuments of Art and Antiquities was created.

“On registration, registration and storage of monuments of art and antiquity” (October 5, 1918) on the universal registration of works and monuments of art and antiquity. This accounting was carried out by the museum department of the People's Commissariat for Education.

“On the recognition of scientific, literary, musical and artistic works as state property” (November 26, 1918)

An important aspect of government policy in the field of art has become the issue of museums. In the early years, the Soviet government nationalized art museums, private collections and collections. To study and systematize artistic values, the State museum fund, where museum values ​​were concentrated. After accounting, systematization and study, the stage of acquisition of museums began - the values ​​were approximately evenly distributed among various museums of the country. In parallel, large-scale museum construction began. Painting In the first years of the revolution, traditional easel forms continued to develop. Many of the older generation of Soviet artists from the first years of Soviet power were formed, of course, in the pre-revolutionary years and, naturally, “contact with new life was fraught with considerable difficulties for them, which were associated with the breakdown of the creative individualities that had already developed by the period of the revolution.” Soviet art history divided masters of Soviet painting of this period into two groups:

Artists who sought to capture subjects in the familiar visual language of factual display

Artists who used a more complex, figurative perception of modernity. They created symbolic images in which they tried to express their “poetic, inspired” perception of the era in its new state.

Art forms that could “live” on the streets played a vital role in the first years after the revolution in “the formation of the social and aesthetic consciousness of the revolutionary people.” Therefore, along with monumental sculpture, the political poster received the most active development. It turned out to be the most mobile and operative form of art.

During the Civil War, this genre was characterized by the following qualities:

"sharpness of presentation of material,

Instant reaction to rapidly changing events,

Propaganda orientation, thanks to which the main features of the plastic language of the poster were formed.

They turned out to be laconicism, conventionality of image, clarity of silhouette and gesture.” Posters were extremely common, printed in large quantities and placed everywhere.

Before the revolution, political posters (as a mature type of graphics) did not exist - there were only advertising or theater posters. Soviet political posters inherited the traditions of Russian graphics, primarily political magazine satire. Many of the poster masters developed in magazines. Festive decoration of cities

The artistic decoration of festivals is another new phenomenon of Soviet art that had no tradition. The holidays included the anniversaries of the October Revolution, May 1, March 8 and other Soviet holidays.

This created a new unconventional art form, thanks to which painting acquired new space and functions.

For the holidays, monumental panels were created, which were characterized by enormous monumental propaganda pathos. Artists created sketches for the design of squares and streets. First post-revolutionary The five-year period (1917-1922) was marked by the diversity and fragility of artistic platforms, the activity of left-wing artists who saw in the new conditions the opportunity to implement the most daring innovative ideas.

Most of the pre-revolutionary artists began to collaborate with the Soviet government, among whom were the Peredvizhniki, and Russian impressionists (Rylov, Yuon), and the World of Art (Lancere, Dobuzhinsky), and the “Goluborozovites” (Kuznetsov, Saryan), and the “Valets of Diamonds” (Konchalovsky, Mashkov , Lentulov).

At first, abstractionists V. Kandinsky and K. Malevich occupied a prominent place in the Fine Arts Department of the People's Commissariat for Education. The ideas of the revolution gave birth to new directions. Among them, the new Russian revolutionary avant-garde “Unovis” (“Proponents of the new art”, 1919-1920. Malevich, Chagall, Lissitzky) declared a fight for “pure” art and began to develop propaganda forms. "KNIFE" (New Society of Painters) was close to the Jack of Diamonds.

“Proletkult” attempted to create an organization of a new proletarian culture “on the ruins of the past,” abandoning the classical heritage, but did not last long, lacking support from both artists and spectators.

The artists of the associations “Four Arts” (Kravchenko, Tyrsa, Petrov-Vodkin) and “Makovets” (Chekrygin, father Pavel Florensky) opposed avant-gardeism for the philosophical depth of art and traditional monumentalism of forms.

The romanticism of the first post-revolutionary years was conveyed in symbolic and allegorical form by P. Filonov in the series of paintings “Entering the World’s Heyday” (1919); K. Yuon “New Planet”, B. Kustodiev “Bolshevik”. Even at the beginning of the 20th century, K. Petrov-Vodkin (1878-1939) expressed a premonition of impending changes in Russia in the painting “Bathing the Red Horse” (1912, Tretyakov Gallery). He conveyed the threat to the peaceful life of ordinary people during the civil war in the film “1919. Anxiety" (1934, Russian Russian Museum).

The type of new hero - a working man, an athlete and a social activist - is created in the portrait genre by A.N. Samokhvalov "Girl in a T-shirt". During the civil war, mass propaganda art came to the fore: decoration of holidays and rallies, painting of propaganda trains, etc. (B. Kustodiev, K. Petrov-Vodkin, N. Altman); political poster (A. Apsit “Breasts to defend Petrograd”, D. Moor “Have you signed up as a volunteer?”, “Help!”. ROST windows (1919-1921, Mayakovsky and Cheremnykh).

In 1922, the AHRR (Association of Artists of Revolutionary Russia) was created, which existed until 1932. Its organizers were A. Arkhipov, N. Dormidontov, S. Malyutin and other late Itinerants. The propaganda of her “new course” attracted artists of different views on art - former Jack of Diamonds, artists of the KNIFE Society, “4 Arts”, etc.