Soviet Art: Collage in Propaganda and Art / ITech content

Contents:

• The Birth of Utilitarianism from the Spirit of Painting
• Ideological Foundation
• From Theory to Practice
• Art vs. Propaganda
• Figures of Default
• What You Can Read About Aesthetics and the Era

The NEP era, although not as opulent as the American "Roaring Twenties," was characterized by energy and freedom, without the threat of repression. In 1924, Soviet citizens participated in the "Down with Shame" movement, allowing them to express their individuality, even while traveling on trams in unusual surroundings. Peasants, following Bukharin's precepts, began to accumulate capital, and bohemians expanded their horizons of love and creativity. In this context of freedom and experimentation, a creative explosion occurred, which had a positive impact on the young, still unsettled state. The NEP era became a time of cultural and social renewal, promoting the development of art and free self-expression.

A new, expressive visual language emerged in contemporary art, actively incorporating elements of Soviet photo collage. This style, based on the combination of various images, brings uniqueness and originality to visual perception. The use of Soviet photo collage allows for the creation of multilayered compositions that reflect both historical contexts and contemporary realities. As a result, this approach enriches contemporary art with new meanings and aesthetics, attracts viewers' attention, and inspires new creative experiments.

The collage "We Are Ours, We Will Build a New World" serves as a vivid metaphor for the era and the thinking of early Soviet people. It represents a collective image created from fragments of the disparate reality of that time. This composition reflects the desire to build a new society based on previous elements, symbolizing the hopes and ambitions of people striving for change. In the context of the early Soviet era, collage becomes not only an artistic expression but also a reflection of the complex social and cultural dynamics characteristic of this period.

Creating a new society requires the use of existing resources, just as a photo collage is formed from existing photographs.

Why did this shift occur and who was its ideologist?

Early Soviet society was characterized by a high degree of illiteracy. Only 30–40% of the population could read and write. Literacy programs began to be developed only in 1923. In this regard, there was an urgent need to create an accessible visual language that could effectively convey information to a wide audience and promote public education.

The Birth of Utilitarianism from the Spirit of Painting

Malevich and Rodchenko represent opposite poles of the Russian avant-garde. Malevich, with his Suprematist painting "White on White", seeks to express the ideal of pure non-objective art, where color and form become the main elements. At the same time, Rodchenko focuses on constructivism, emphasizing the importance of functionality and the practical side of creativity. These two artists illustrate the contrast between the sublime concept of art and pragmatic, sustainable creative activity, reflecting the diversity and versatility of the Russian avant-garde. The interplay of their ideas continues to inspire contemporary artists and art historians, highlighting the significance of their contribution to the development of 20th-century art.

Rodchenko views his work as a "cloud in pants," symbolizing his revolutionary approach to art. By creating his counterargument in the form of "Black on Black," he demonstrates a unique dynamic that would become fundamental to the visual arts in the future. Despite a common desire for dynamism, the works differ in essence and concept, emphasizing the differences in approaches and philosophies of art.

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The competition between Rodchenko and Malevich became a significant event in the history of art. These two masters of the avant-garde represent different approaches to creativity and artistic expression. Known for his experiments with form and material, Rodchenko sought to break down traditional artistic boundaries, creating works that surprised and provoked viewers. Malevich, the founder of Suprematism, emphasized pure geometric forms and colors, seeking to express higher ideas through minimalism.

The competition between these artists not only reflects their individual styles but also demonstrates the broader context of the artistic movement of the early 20th century. This clash of ideas became a catalyst for the development of contemporary art, contributing to the emergence of new directions and formats.

Their works continue to inspire contemporary artists and researchers, emphasizing the importance of experimentation and the search for new meanings in art. The rivalry between Rodchenko and Malevich not only enriched the cultural landscape but also left an indelible mark on the history of world art.

This is not just a slogan, but a statement about a new art that emphasizes the brutality of existence and the materiality of every brushstroke. This artistic movement emphasizes the physicality of materials and emotional intensity, creating a unique connection between the viewer and the work. This new art seeks to convey the depth of human experience through textures and forms, opening up new horizons in the perception of reality.

The volume and density of the composition are determined by the interaction of paints and varnishes. The artist's tools reflect a respect for technical progress, including a compass, roller, and ruler. These elements not only contribute to the creation of precise and expressive works of art but also emphasize the importance of combining traditional and modern methods in artistic practice.

Having reached new heights in his creativity with monochrome works such as "Smooth Color" (1921), Alexander Rodchenko shifted his focus to industrial design, posters, and photography. His philosophy of art finds practical expression in these areas, allowing him to realize his ideas and concepts on a broader level.

An important aspect that should be noted in the context of the transition of artists to applied professions is the impact of the nationalization of galleries, the abolition of collecting, and the centralization of publishing. These processes significantly undermined the art market and led to a change in the development vector of many creative individuals. Artists began to seek new ways to express themselves and earn a living, which encouraged them to move into areas where they could apply their skills and talents more effectively.

The term "disorder and vacillation" reflects the artist's shift to the realm of agitation and propaganda. The romanticization of the brutal images of Rodchenko and Mayakovsky represents only one facet of these processes. In fact, other figures, such as Osip Brik, who, while less impressive, played a significant role in shaping the conceptual ideas of the time, formed the theoretical foundations of the movement.

Mayakovsky's charisma, combined with his organizational skills, played a key role in the creation of the platform and magazine "LEF" (Left Front of the Arts). This magazine became an important forum for the advancement of applied art, providing a space for artists and writers seeking new forms of self-expression and social justice. "LEF" contributed to the development of avant-garde art, shaping the cultural and artistic trends of its time.

Ideological Foundation

Proletkult arose immediately after the February Revolution and became an important phenomenon in Russian culture. Georgiy Plekhanov, based on the class theory of Marx and Engels, proposed the concept of class culture. He argued that art is a reflection of society, and class struggle inevitably finds expression in the work of artists. This idea formed the basis of many cultural processes of that time and influenced the development of art in Russia. Proletkult sought to create a new, proletarian culture that would correspond to the interests of the working class and reflect its aspirations.

Alexander Bogdanov continues the ideas of Georgiy Plekhanov, emphasizing that the desire for subtle artistic pleasures is characteristic only of a spoiled gentleman. For a peasant, it is more important to find motivation for life and work. This difference in value perception highlights how social status influences people's needs and desires.

For centuries, peasants have sung work songs to ease monotonous work and create an atmosphere of unity, for example, during a round dance to find a bride. In this context, fine art also plays an important role in economic life. It can be used for propaganda, inspiring people to work and uniting them around common goals. Art becomes a powerful tool, promoting the development of agriculture and strengthening community.

From Theory to Practice

The main constructive idea of ​​the early Soviet artistic paradigm is an emphasis on clarity. This desire for clarity and accessibility of artistic expression reflects society's needs for new forms of communication and perception. Artists of the time sought ways to convey ideas and emotions through simplicity and expressiveness, striving to make art accessible to a wide audience. This approach contributed to the development of a unique style that combined elements of revolutionary aesthetics and folk traditions. As a result, early Soviet art became an important tool in shaping a new social consciousness and cultural identity.

The idea is not limited to illustration alone: ​​it utilizes all design elements—color schemes, typographic play, as well as margins, spacing, and the dynamics of accents. Each of these aspects contributes to a harmonious visual perception and enhances the overall impression of the work.

Constructive illustration strives to achieve graphic and semantic effectiveness using all available methods and tools. The primary goal is to create visual content that accurately conveys meaning and ideas, facilitating the perception of information. An effective illustration should not only attract attention but also serve as a clear visual complement to the text, improving the overall perception and understanding of the material presented.

Photography in this context is one of the most effective means of conveying information, as it has documentary value.

Sergey Ushakin argues that early Soviet visual text is the precursor to modern PowerPoint presentations. This type of communication involves a graphical representation of information that effectively illustrates main ideas and structures content. Early Soviet visual text served as a tool for visualizing meanings, making it a significant stage in the development of information presentation methods.

Socialists from various countries actively studied visual language. One of the prominent representatives of this trend was the Marxist philosopher Otto Neurath. Together with members of the Vienna Circle, he developed the first visual language of infographics, known as ISOTYPE. This project was an important step in the use of visual means to convey information and ideas, which contributed to the dissemination of Marxist concepts to a wider audience.

The "Vienna Method of Pictorial Statistics" sought to demonstrate the complexity and inequality of socio-economic relations both within cities and on a global scale. After some time, the ISOTYPE infographic language began to be actively used in illustrations for Soviet children's books, which contributed to a more accessible perception of statistical data and social problems. This method of information visualization remains relevant, emphasizing the importance of understanding the socio-economic aspects of society.

The reaction to Lenin's death in 1924 was an important stage in the development of photo documentation. The 1924–1925 commemorative campaign played a key role in establishing the importance of photography and photomontage as mass media and artistic expression. Research by Margarita Tupitsyn and Oushakine confirms that it was during this time that new approaches to visual documentation of historical events began to emerge, influencing the subsequent development of the photodocumentary genre.

1923 was a pivotal year in history, marked by significant political, economic, and cultural changes. During this period, the world was experiencing the aftermath of World War I and seeking recovery. Economic crises and social tensions defined many countries, shaping their futures.

In 1923, hyperinflation occurred in Germany, leading to economic collapse and serious social consequences. This situation contributed to the rise of political radicals and the emergence of new ideologies. In other countries, such as the United States, cultural and artistic developments began, laying the groundwork for future movements.

These events of 1923 had a significant impact on international relations and domestic affairs, determining the direction of further historical development. Understanding these processes allows for a better understanding of the current political and economic situation in the world.

LEF magazine published an article on photomontage, emphasizing that photography, thanks to its documentary nature, possesses a persuasiveness superior to thousands of illustrations. Photomontage becomes a powerful tool for visual storytelling, allowing reality and creativity to be combined, which in turn underscores the importance of photography as a means of conveying information and emotion.

1924 was a significant year in world history. It was a year marked by many significant events that impacted various areas of life. Political changes, cultural advances, and scientific discoveries made 1924 a memorable year. One of the key events was the Olympic Games in Paris, where athletes from all over the world competed for medals. This event not only contributed to the popularization of sports but also strengthened international ties. In the cultural sphere, 1924 was marked by the publication of new works of literature and art that continue to inspire modern generations. Scientific research and innovation also took a step forward, opening new horizons for humanity. 1924 can be seen as a year of change and opportunity, which laid the foundation for future achievements in various fields.

The book "Children and Lenin" is a unique work that harmoniously combines elements of simplified realism and photomontage, created by the talented artists Gustav Klutsis and Sergei Senkin. This publication draws attention with its original visual aesthetic and profound social themes, exploring Lenin's influence on a generation of children during the Stalin era. Klutsis and Senkin's work not only demonstrates artistic mastery but also reflects a story that intertwines childhood dreams and the ideals of the revolution. The book is a valuable resource for studying Soviet art and its context, as well as for understanding the cultural legacy of that time.

Art vs

Photocollage and cinema are closely linked. Kino-fot magazine successively features Dziga Vertov's manifesto "We," photo collages by Alexander Rodchenko, and an article by director Lev Kuleshov devoted to the documentary aspects of American cinema. These materials emphasize the importance of visual art and its influence on cinema, demonstrating how photo collages can enrich cinematic perception and shape new narratives.

Alexander Rodchenko's first photo collages are unique posters for films by directors such as Dziga Vertov and Sergei Eisenstein. These works also include illustrations for publications such as Kino-fota, Molodaya Gvardiya, and Sputnik Kommuna. Rodchenko used photo collage as a means of expressing new ideas and visual concepts, marking an important stage in the development of Soviet art and visual culture.

Alexander Rodchenko rarely comments on his collages, but in 1923 he stated, "I was the first to make photomontage in the USSR." This statement underscores his significance in the development of photomontage in the country. Rodchenko became a pioneer in this field, introducing new techniques and approaches that influenced subsequent generations of artists. His works not only depict reality but also transform it, creating unique visual images. Thus, Rodchenko occupies an important place in the history of Soviet art and photomontage.

Collages and assemblages of European artists, despite visible similarities, were perceived as bourgeois, touching on the "vague issues of unhealthy aesthetics," as noted in an article in the magazine "Kino-fota." The similarity between Alexander Rodchenko's method and the Western Dadaists provoked a wave of criticism, especially from his competitors. This confrontation highlighted the differences in the perception of art and its social role, and also opened new horizons for the discussion of artistic methods and their impact on society. Gustav Klutsis opposed the "artistic lie" that uses images of the revolution for manipulation. For him, photomontage was not only an artistic tool, but also a means of a new social attitude. This concept was also applied to the modernist works of Alexander Rodchenko, which were criticized in light of Klutsis's ideals. Photomontage, in his interpretation, became a means of expressing social truth, and not just an art form.

Photomontage became an important tool within the new ideology of a powerful nation, and the workers of the "shock brigade of photomontage artists" became its creators. In this process, the greatness of the pioneer was lost against the backdrop of the efforts of many hard-working artists. Photomontage not only changed the concept of visual art but also opened up new horizons for creativity, allowing various elements to be combined into a unified whole and convey complex ideas through visual images. This movement became an integral part of the cultural environment, contributing to the development of new forms of self-expression and social communication.

Klutsis actively used photo collage in his works, which is evidenced by his paintings of 1918 and 1919. Particularly noteworthy is the painting "Dynamic City", which evokes associations with the work of El Lissitzky from the same period. Although his work is often presented to officials, photo collage has become an important tool in his artistic practice, highlighting his innovative approach to combining photography and painting.

If the dating is accurate, then Klutsis can be considered the first photomontage artist. However, his influence on this genre is not comparable to the influence of Rodchenko and Lissitzky.

Klutsis's ideas can be considered secondary, since he emphasized the importance of the texture of the collage. The variety of paper surfaces, folds, and overlapping elements are intended to have a special impact on the viewer's perception. This same concept was previously outlined by Rodchenko in his works, such as "Black on Black." In Rodchenko's projects, the play with textures is much more pronounced than in Klutsis's collages.

Klutsis proposed a concept for the graphic organization of slogans, emphasizing their semiotic content. This idea resonates with the existing theory of summary and overtone montage developed by Eisenstein. The use of semiotic elements in slogans allows for the creation of deeper meanings and a stronger emotional impact on the audience. The interaction of graphic form and content in slogans can significantly enhance their effectiveness and expressiveness, making this concept relevant in the contemporary context of visual communication.

The attacks on his colleagues, which had already begun in the 1930s, become more understandable in the context of the political struggles of the time. This struggle brought him short-lived success, and the visual expression of early Stalinism is often associated with his name. This approach to political aesthetics had a significant influence on the culture of the period and became an important element in shaping the image of the Stalinist state.

Klutsis left his mark on art history, independently establishing himself in 1936 when he was commissioned to write an article on "Photomontage" for the Great Soviet Encyclopedia. In this article, he calls himself the founder of political photomontage and mentions several names, including Lissitzky, but does not mention Rodchenko. This underscores his desire to establish his place in the history of photomontage and distinguish himself from other artists.

The joy was short-lived. In 1938, Gustav Klutsis was arrested on false charges of involvement in a "fascist conspiracy of Latvian nationalists." This case became an example of the political repression of the time and highlights the dangers faced by creative individuals under a totalitarian regime. Klutsis's arrest demonstrates how art and politics intertwined, leading to tragic consequences for many artists and cultural figures.

However, this would happen much later, when photo collage as an artistic genre had lost its popularity.

In 1923, Rodchenko claimed: "I was the first to make photomontage in the USSR." Although he rarely commented on his collages, this statement underscores his significance in the history of photomontage and art in general. Rodchenko became a pioneer in this field, bringing a new perspective to photography and the combination of images. His works influenced the development of visual art in the country and abroad.

Figures of Silence

In contemporary cultural discourse, criticism is often leveled at Proletkult, which, according to many, slowed artistic development and negatively impacted noble culture. However, Proletkult has significant practical achievements that cannot be ignored. Its influence on popular culture and the formation of new artistic trends played a significant role in the evolution of art in Russia. Proletkult contributed to the dissemination of ideas about cultural accessibility, introducing them into people's everyday lives. This movement left a noticeable mark on history, shaping new views on art and its social functions.

Design as a separate discipline emerged only in the mid-19th century, representing a new phenomenon in culture. According to A. V. Pankratova, "design marks a break with traditional culture, emphasizing its modernity and focus on the future." This period marked a significant milestone in the development of visual culture, when designers began actively experimenting with form, function, and aesthetics, ultimately leading to the creation of unique stylistic solutions that continue to influence modern design.

This shift toward the future was accompanied by significant losses, such as the sale of works of art from the Hermitage in the late 1920s. Nevertheless, artists such as Rodchenko and Lissitzky, as well as other masters of photo collage, created a solid foundation for this genre, which subsequently gained widespread adoption and recognition around the world.

What you can read about aesthetics and the era

You can immerse yourself in the aesthetics of the uncompromising 1920s by starting with Alexei Gan's theoretical work "Constructivism" (1922). In this work, the author, in the spirit of his time, proclaims the end of traditional art forms and praises constructivism. The brightness and expressiveness of his formulations perfectly convey the brutal energy of the art of this period. Constructivism became an important stage in the development of artistic thought, opening new horizons for self-expression and the transformation of reality.

In his 1926 work "Art and Production," Boris Avratov offers a profound analysis of changes in the artistic world. In this collection of essays, he systematically explores the disintegration of traditional art and its transformation into art as a process of production. Avratov focuses on new approaches and methods that shape contemporary art, emphasizing its connection with industrialization and social change. This work becomes an important source for understanding the evolution of artistic thought and its adaptation to new realities.

The theme of constructivism is explored in greater depth through Elena Sidorina's book "Constructivism Without Shores. Research and Studies on the Russian Avant-garde" (2012). In this work, the author analyzes the contradictions between non-objective and figurative art, and also addresses the philosophical concepts of that era. Sergei Oushakine's book "Medium for the Masses — Consciousness through the Eye. Photomontage and the Optical Turn in Early Soviet Russia" (2020) explores key aspects of the optical turn and photomontage, emphasizing their significance in the context of early Soviet art. These works are important sources for understanding constructivism and its influence on contemporary art.

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