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By the year 1918, the new government began to print and distribute posters. "Alexander Apsit was the first great Bolshevik poster artist who developed many distinct Soviet symbols" (Foss; Lapides: The Bolshevik Era). In 1919, the Literary-Publishing Department was established by the Bolshevik government; this new department was made up of brilliant cartoonists and artists such as Dimitri Moor and Viktor Deni. The New Economic Policy was the era between 1921 and 1927 when propaganda was aimed at post-war realities such as famine, discontent and freedom. The country was at peace but the economy had collapsed under the enormous weight of the war. Lenin introduced the New Economic Policy which favoured some private enterprises which eventually flourished. It was during this period that Russian experienced its "roaring twenties," an era dominated by experimentation in all fields, including the arts where the Constructivist movement was predominant. Also, it was during this era that artists became interested in contributing to the construction of a new communist society. The First and Second Five-Year Plans represented Stalin's project to turn Russia into a fully communist industrialized power. Mobilization was the main theme during the First Five-Year Plan. The first step was Stalin's decree in 1932 that all art must conform to "Socialist Realism" which meant that art would serve as a vehicle for the Communist values, and that all artistic experiments would end. State propaganda was now strictly controlled and relied on strident posters which seemed to be everywhere the common man went. The main artist of this period was Gustav Klutsis whose task was to visually translate the glorification of the plan. To this aim, he employed simple colours with dynamic composition and bold typography. The Second Plan can be summed up as an attempt to strongly react in the face of the Nazis. Posters of this period featured the infallible leader, Stalin whose image appeared everywhere. This was the era of Stalin's purge first within the Party, then the army which resulted in the annihilation, either physical or social, of those who were not in favor of it. The last period examined in this section of the paper is the Great Patriotic War which lasted from 1939 to 1945. This era...
The themes illustrated by the posters were meant to act as a reaction to the growing Nazi threat that required patriotic appeals in the Soviet Union. In fact, the themes of communism and class struggle became rather secondary in the face of a strong revival of great pre-Soviet heroes.
Stalin's rise to power meant he needed to develop a strong visual representation. Anti-religion propaganda had led to the destruction of religion, and the Russian people needed new icons. Stalin filled this void by instilling the "cult of Lenin" which later led to the construction of his own personality cult. Stalin transformed visual culture both in terms of its facade and its message. Visual arts became the main component of communist propaganda in the Soviet Union. The new themes became a coherent and well-constructed message glorifying communist ideals. The realistic form only helped the cause in the sense that it made art far more approachable and unproblematic. Because it was easy to understand it was also appealing to the masses which enhanced its message and thus its ideological strength by offering its audience more than a replica of reality, but the visualization of a new world, a new social order and consequently, a new man.
Dream Factory Communism: The Visual Culture of the Stalin Era." Exhibition. http://www.culturekiosque.com/art/exhibiti/sovietart.html
Lapides, Jim; Foss, Clive. "Soviet Posters." International Poster Gallery. 1998. http://www.internationalposter.com/country-primers/soviet-posters.aspx
Nazi and Soviet Art http://www.goodart.org/artofnz.htm
Read, Herbert. "The Freedom of the Artist." To Hell with Culture: And Other Essays on Art and Society. London: Routledge, 2002: 112-125.
Socialist Realism." Virtual Museum of Political Art. http://members.telering.at/pat/soc.htm
Tucker, Robert C. "The Scripted Culture." Stalin in Power: The Revolution from Above, 1929-1941. New York: Norton, 1990: 552-568.
Van Ree, Erik. The Political Thought of Joseph Stalin: A Study in Twentieth-Century Revolutionary Patriotism. New York: Routledge Courzon, 2002.
Socialist Realism." Virtual Museum of Political Art. http://members.telering.at/pat/soc.htm
Tucker, Robert C. "The Scripted Culture." Stalin in Power: The Revolution from Above, 1929-1941. New York: Norton, 1990: 552-568.
Van Ree, Erik. The Political Thought of Joseph Stalin: A Study in Twentieth-Century Revolutionary Patriotism. New York: Routledge Courzon, 2002.
However, Mohr, once again became defensive and proposed that this flask was a way that brothers help the world to visualize the different occupations found at that time. In short, the pottery by Kirkpatrick brothers conveyed many messages. It held a lot of importance during that time. In fact, the pottery acted as a political messenger and conveyed many messages which would have otherwise would have remained untapped. For Mohr,
Art During Renaissance The Evolution of Art During the Renaissance The Renaissance period is defined as a cultural movement that spanned approximately from the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe (Brotton 2006, p. 6). This period in the history of art included the painting, decorative arts and sculpture of the period and for many was considered a
Art Culture: Public Space Art Public art like that of Koon's Train (2011), Serra's Tilted Arc (1981), Lin's Vietnam Veterans Memorial (1981), and James' Sea Flower (1978), ignite discussion to the point of its modification, re-arrangement, or removal. The reason for this controversial treatment of public art is its ability to embrace a variety of aesthetic practices. The adoption of different aesthetic values like poster art, outdoor sculpture, earthworks, multimedia projections,
Art PAINTING No. Untitled #14 Artist: John McLaughlin Paragraph: John McLaughlin was not a formally trained artist and started painting relatively late in life. A career in the military and foreign services brought him to Japan, exposing him to different artistic perspectives, forms, and styles. However, Mondrian would influence McLaughlin's artistic influences far more. McLaughlin came to rely on a minimalist color palette consisting often of only solid chunks of black, white, or primary
Art History: The Impressionists Baroque The word baroque has no clear origin. Some says that it came from a medieval philosophical word connoting the strange or the ridiculous, some consider it as derived from the Spanish barueco or Portuguese referring to an irregular shaped pearl. As 18th century was coming to an end baroque find its way to art criticism terminology in form of epithet leveled against art of the 17th century,
Art Impressionism in art developed in the 19th century. Impressionist paintings were characterized by visible brush strokes, and subject was drawn from ordinary life and outdoors, rather than being confined to still life, or portraits and landscapes drawn in studios. Emphasis was laid on the effect of light changing its qualities as well as movement. These characteristics of impression can be well observed in the works of art by Gustave Caillebotte,