The revolution of 1917 began a completely new stage in Russian painting, which was expressed both in the development of its new forms and in the comprehension of new, hitherto unseen events in Russia.
It can be confidently noted that the revolutionary events of this landmark year for our country laid the foundation for a unique cultural revolution, which, by the way, had no analogues in the world at that time. The content of this phenomenon also cannot have any unambiguous characteristics.
Since the October Revolution, Russian painting has found itself in a situation where:
- The idea of the partisanship of any art was realized everywhere, i.e. the existing and even partly idealized principle of freedom of creativity was excluded. What eventually came down to the active politicization of the entire cultural sphere, and especially art and literature.
- There was an active "cultural enlightenment" of all, including the illiterate sections of the citizens of the former empire, and their familiarization with the national achievements of art.
Russian Artists and the Revolution - New Organizations, New Tasks
October 1917 basically drastically changed the position and nature of the work of the masters, whose artistic life and manner had already taken shape. It should be noted that the revolution, first of all, appealed to the work of young artists, which is natural. However, the numerous and diverse platforms that arose in its first impulse lasted in general only the next five years. The new artists showed themselves as daring innovators, destroying everything and tearing off experimental paths.
Among the major pre-revolutionary masters, the following representatives found agreement with the revolution:
- Russian impressionism - K. Yuon, A. Rylov
- — M. Dobuzhinsky, E. Lansere
- — A. Lenturov, P. Konchalovsky, I. Mashkov
- Vanguard -,
There are absolutely new directions in Russian painting on a revolutionary upsurge:
- "Unovis" as a representative of the already revolutionary (existed for 1 year) - included M. Chagall, K. Malevich, L. Lissitzky. The task of unification is new forms and a new "pure art"
- The group of artists "KNIFE" - in terms of tasks and forms, it was close to the ideas of "Jack of Diamonds"
- "Proletkult" - arises as an association on the principle of creating a new culture (proletarian), opposed to the entire heritage of the classics
Meanwhile, in the artistic field of Russia, which changed with the revolution of 1917, artistic groups continued to exist, holding on to traditional forms and depths of philosophical reflection - these are associations:
- "Four Arts" - K.Petrov-Vodkin, N.Tyrsa, A.Kravchenko
- "Makovets" - father P. Florensky, V. Chekrygin
Revolution - new meanings and genres of painting
The leader of the revolutionary events, V. Lenin, saw in painting, as well as in cinema, a huge potential for:
- Education of the population (general), i.e. eradication of illiteracy
- Enlightenment through agitation, i.e. artistic propaganda of new ideas
- Cultural revolution, according to Ilyich, necessary for a "backward country"
This is how whole mass propaganda trends appeared in Russia, combining painting,.
Steamships and trains painted by artists drove across the country, on which speakers, theater groups, projectionists, etc. went to the people. Also, these propaganda trains carried newspapers, posters and other print products, being in essence at that time an analogue of the media. In the difficult five years after October, Russia had almost no other means of information at its disposal.
The walls and hulls of such propaganda ships and trains were semantically decorated with either poster graphics or art panels using primitive forms and techniques that could be accessible to an uneducated person.
Such painting was certainly supplemented by a text explaining the content, as well as necessarily motivating the viewer to action.
As the most mobile and optimally informative genre in the then revolutionary Russia, graphics became the most popular, namely, a drawing (newspaper or magazine) and a poster.
The main types of the poster genre born by the revolution along with the new country of the poster genre were: 
- Heroic and political type (artist D.S. Moor, V. Mayakovsky)
- Satirical type (art. V.N. Denny, M.M. Cheremnykh)
The propaganda and informative "load" in the poster was given in a simple, but bright, capacious graphics. The slogans for it had artistic expressiveness and were quickly perceived and remembered even with a short acquaintance.
Soviet artists who worked in the poster genre brought it to a high level of technology, possessing both their unique manners and personal artistic skill.
In fact, the poster as a type or genre of painting appeared earlier - back in the 19th century, but in a young country that defeated the people's revolution, it was born anew and became a whole independent artistic phenomenon.
Tasks and functions of Soviet poster art
Back in the World War, newspaper graphics played a significant role, comparable to the action of a direct or psychological weapon that crushed the enemy and roused him to battle.
During the period of construction following the war, the poster continued to implement the same tasks, being an ideological tool. As the entire history of the USSR will show, there will not be a single significant event or phenomenon in it that will remain outside its poster comprehension.
Thus, the main functions of the Soviet poster were:
And for the purposes - it is also aesthetic education.
Gradually, as a genre that flawlessly copes with ideological tasks, the poster is generally displayed as the main type of painting. The revolution "secures" for him the status of a real "high art", so in the country:
- Thematic poster exhibitions are held
- These works are included in the collections of museums
- Placed in the archives
- Training courses open
To the credit of the artists who worked in this art form, it should certainly be added that, despite all the global politicization of the poster genre, its art has always been embodied at a highly artistic level. This is partly why, in the future, the functions of the Soviet poster were added, in addition to the above, and tasks:
- Communications as connections between people and power
- Image - as forming the image of the power itself
- Educational - as developing moral and social topics
Not only in Leningrad, but also in Moscow - the two most active artistic centers of the country - there are more and more calls to oppose the Soviet poster to the Western, more and more often the acquaintance of Russian artists with the works of their German colleagues, the achievements of French or American graphics is considered 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 of 1927 that it was the October Revolution of 1917 that contributed to the creation of a new industrial graphics. Noting that in Germany the poster "was used politically," Lissitzky nevertheless insisted that "only in our country did it take on a clear social and artistic form." .
Lissitzky's theses on the innovative essence and social activity of Russian photomontage were vividly illustrated at the 1927 exhibition by posters Klutsis and Senkina. In their work, photomontage, which was a topic of intense debate throughout the 1920s, found a special life. They knew how to give the plot versatility and a special visual polyphony to the sheets devoted to the appeals of the party and industrial plans. Sharply, actively comparing fragments of natural, documentary photography with conditional graphic elements, these masters increased the scale of the poster form, giving it an 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" - poster, photography or cinema - should first of all "serve the working people" in the field " ideological propaganda", as well as in the sphere of "production and direct organization of everyday life". And almost all sheets Klutsis, in which photo frames are combined with type compositions ("From NEP Russia will be socialist Russia" (No. 14)) or in which color contrasts are vividly used ("Komsomol members, sowing for shock!" (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 same “proletarian paintings”, about which were written by constructivist theorists. It is interesting that the birth of some sheets was preceded - as with easel artists - by the "study period", the time of accumulation of natural material. They made trips to the industrial regions of the country, and in the Donbass, for example, they photographed the 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 also defended these theses at the discussion at the Institute of Literature, Art and Language at the Communist Academy, which unfolded thanks to the decision 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 to the poster and picture business on the part of various publishers ... which was reflected in the release of a significant percentage of anti-Soviet posters."
The management of "poster production" in this regard was transferred Department of Agitation and Mass Campaigns of the Central Committee, a system of strict ideological review was introduced, involving not only official censorship, but also students of the Institute of Red Professors. It was also proposed to organize "preliminary discussions" at enterprises, where ordinary workers were to develop themes, as well as view sketches and finished "pictures and posters".
Thus, the poster was one of the first to be subjected to strict regulation by the party authorities, artistic disputes ended in total ideological control.
In 1932 a book was published "For the Bolshevik poster", in the preface of which it was emphasized: "Comrade Stalin's instructions demand that the front of the proletarian arts give the most severe rebuff to all deviations from Leninism." Here was the main indication: “The first and main requirement that we must present to the poster is political, ideological richness; it must contain content that comes from our reality in its dialectical materialist interpretation.”
This period (due to obvious historical changes) is characterized by a change in the main main line of official art in comparison with the previous stage in the development of Russian art. The 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 people the truth, 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, Nep's theory
3 1932-1941 - art of the 30s, party principles, socialist realism
4 1941-1945 - the art of the Second World War, all art for the front, for victory, graphics, a Soviet political poster, in painting a historical picture of a landscape come to the fore.
5 1945-1960-art of the post-war years
6 1960-1980 - the era of Brezhnev's stagnation
Soviet art history divided the masters of Soviet painting of this period into two groups:
Artists who sought to capture the plots in the usual pictorial 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.
2 Painting of the period of revolution and civil war 1917-1922. Art of the period of the Revolution and the Civil War Already 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, the Collegium for Museum Affairs and the Protection of Monuments of Art and Antiquity was created under the People's Commissariat of Education.
"On registration, registration and storage of monuments of art and antiquity" (October 5, 1918) on the general registration of works and monuments of art and antiquity. This accounting was carried out by the museum department of the People's Commissariat of Education.
"On the recognition of scientific, literary, musical and artistic works as state property" (November 26, 1918)
The issue of museums has become an important aspect of government policy in the field of art. In the early years, the Soviet government nationalized art museums, private collections and collections. For the study and systematization of 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 the various museums of the country. In parallel, large-scale museum construction began. Painting In the early years of the revolution, traditional easel forms continued to develop. Many of the Soviet artists of the older generation of the first years of Soviet power were formed, of course, back in the pre-revolutionary years and, of course, “contact with the new life was associated with considerable difficulties for them, which were associated with the breaking 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 the plots in the usual pictorial 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 capable of "living" on the streets in the first years after the revolution played a crucial role in "shaping 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 operational art form.
During the Civil War, this genre was characterized by the following qualities:
"Sharpness of material supply,
Instant reaction to rapidly changing events,
Agitational orientation, thanks to which the main features of the plastic language of the poster were formed.
They turned out to be laconism, conventionality of the image, clarity of silhouette and gesture. Posters were extremely common, printed in large numbers and posted everywhere.
Before the revolution, there was no political poster (as a formed type of graphics) - there were only advertising or theater posters. The Soviet political poster inherited the traditions of Russian graphics, in the first place - political magazine satire. Many of the masters of the poster have developed precisely in magazines. Festive decoration of cities
The artistic decoration of the festivities 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 non-traditional art form that gave painting a new space and function.
For the holidays, monumental panels were created, which were characterized by a huge monumental propaganda pathos. Artists created sketches for the design of squares and streets. The 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 possibility of implementing the most daring innovative ideas.
Most of the pre-revolutionary artists began to collaborate with the Soviet authorities, among whom were the Wanderers, and the Russian Impressionists (Rylov, Yuon), and the World of Art (Lancere, Dobuzhinsky), and the Blue Bearers (Kuznetsov, Saryan), and the Jack of Diamonds (Konchalovsky, Mashkov , Lentulov).
At first, abstractionists V. Kandinsky and K. Malevich occupied a prominent place in the Department of Fine Arts 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" ("Affirmative of the New Art", 1919-1920. Malevich, Chagall, Lissitzky) declared a struggle for "pure" art and began to develop propaganda forms. "KNIFE" (New Society of Painters) was close to the jacks of diamonds.
Proletkult accepted an attempt to create an organization of a new proletarian culture “on the ruins of the past”, abandoning the classical heritage, but did not last long, having no support from both artists and viewers.
The artists of the associations "Four Arts" (Kravchenko, Tyrsa, Petrov-Vodkin) and "Makovets" (Chekrygin, father Pavel Florensky) opposed avant-gardism for the philosophical depth of art and the 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 Heyday” (1919); K. Yuon "New Planet", B. Kustodiev "Bolshevik". As early as the beginning of the 20th century, K. Petrov-Vodkin (1878-1939) expressed a premonition of impending changes in Russia in the painting Bathing a Red Horse (1912, State Tretyakov Gallery). He conveyed the threat to the peaceful life of ordinary people during the years of the civil war in the film “1919. Anxiety "(1934, Russian Museum).
The type of a 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 years of the civil war, mass propaganda art came to the fore: the decoration of holidays and rallies, the painting of propaganda trains, etc. (B. Kustodiev, K. Petrov-Vodkin, N. Altman); political poster (A. Apsit “Breast to the defense of Petrograd”, D. Moore “Have you signed up as a volunteer?”, “Help!”. Windows of GROWTH (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 Wanderers. The propaganda of her "new course" attracted artists of different views on art - former jacks of diamonds, artists of the KNIFE Society, 4 Arts, etc.
The style of the lubok had a great influence on what the first Russian political posters were like, which appeared just 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, told the BBC about the 1917 posters.
sovrhistory.ru
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 the monetary contributions of the population. In 1916, the so-called State 5.5% loan arose. After February 1917, it became the Liberty Loan. Kustodievsky soldier has become a symbol: against the background of red banners, he asks for money to continue the war. In the future, the soldier will be on almost all the posters of 1917 - from February to October. Material by Alexandra Semenova, BBC Russian Service.
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Another style. Event poster. It's kind of like a TV picture. The poster shows Voskresenskaya Square and the building of the Moscow City Duma (later the Lenin Museum, and now the Historical Museum). Here everything was in full swing in March 1917. This is an event picture. Record an event, an impulse. Because the revolution was expected and received with enthusiasm. 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 the ongoing war. And hence the demand and development of graphics.
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It's not really a poster. This is an illustrated flyer. Why is that? Because in Russia power is personified. The power goes on leaders, on leaders. Based on the personification and the need to popularize the leaders of the new Russia, such illustrated leaflets were published. Members of the Provisional Government are here, headed by Duma Chairman Mikhail Rodzianko. In the bottom row, third from the left, Alexander Kerensky, the first socialist in the government. Kerensky and 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. Behind there are bawlers. With a mountain flag. Revolutionary car. Lots of men with guns. Left. And the slogans of the left. And the slogans of the Socialist-Revolutionaries "Land and freedom" and "In the struggle you will find your right." So far, there are no Bolsheviks here.
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This is a poster of the Parus publishing house, a left-wing publishing house. It was known even before the revolution. At the origins of this publishing house was Maxim Gorky. The publishing house published not only magazines, but also books, including Lenin's works. For left-wing posters, such famous poets and artists as Vladimir Mayakovsky and Alexei Radakov were attracted. In this poster, there is a tradition of popular multi-composition drawing and, at the same time, a kind of 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 the rotten to the end system.
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In March 1917, Nicholas abdicated and at the same time the Provisional Government was created. And on this poster - "Memo of the people's victory." The same revolutionary forces are here: an armed soldier, an armed worker. Removed ermine mantle. Kneeling Nicholas hands over the crown. Trampled scepter and orb. And in the background is the Tauride Palace, where the deputies of the State Duma met. And above it the sun rises 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 outbreak of the Civil War, the revolution ceased to be a young lady in white clothes.
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A poster by Alexei Radakov, Mayakovsky's colleague in the Parus publishing house. This is the so-called social pyramid. Social pyramid plots have been surprisingly popular since the beginning of the 20th century. The first social pyramid of the artist Lokhov was published in Geneva in 1891. And then redrawings and based on motives - a lot of options were created. Here, too, an appeal to the traditions of the popular print 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 census of 1897? He wrote: "The owner of the Russian land." The most popular satirical plots until the summer of 1917 were anti-clerical and anti-monarchist, aimed specifically at Emperor Nicholas II and his wife, Empress Alexandra Feodorovna.
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In the autumn 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, participated in the elections. Among those who took part in the elections, the Socialist-Revolutionary Party was the most numerous.
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"Anarchy will be defeated by democracy." This is a cadet party. An essential detail of the poster is a combination of animalism and mythological images - a pangolin (anarchy) and a knight on a white horse (democracy). Congestion with text reduced the effectiveness of the impact on the viewer, which later to some extent influenced the results of the elections.
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Compare the previous poster with this one. Socialist-Revolutionaries. Properly conducted the election campaign. The victory of the Socialist-Revolutionaries was predetermined by such well-organized agitation. Everything is right 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." Two streams, workers and peasants, according to the author's plan, uniting, 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, 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 art propaganda. The same Radakov, Mayakovsky, and others participated in the creation of the famous "Windows of GROWTH", which became the Soviet "brand" and a classic of world poster art. And White lost in terms of visual agitation - as before, there are a lot of unnecessary details and a lot of text. No one will read a well-written Denikin program, multi-column, on a poster.
A poster (from the Latin "plakatum" - evidence) is the most widespread type of graphic art that performs the tasks of visual political agitation or serves as a means of information, advertising, and instruction.
Original posters are created by artists for printing production. In some cases, the poster is printed from the author's printed form (linocut, lithography).
Strictly defined functions of the poster dictate the choice of pictorial means, methods of work, determine the special pictorial language of the poster and its dimensions. The poster, printed in huge print runs, is designed for the widest masses of viewers and is hung out, as a rule, on the streets and in public places. The poster should very quickly respond to all socio-political topical tasks, call for action. Posters replace each other quickly and, acting for a relatively short time, should be distinguished by a clear and precise language. The poster should grab the viewer's attention from a distance. The viewer, who has stopped in front of the poster, should become clear in the shortest possible time what the poster is calling for, what is its purpose; the poster should be perceived instantly. It is precisely these tasks that dictate the relatively large (for graphics) sizes of posters. In the name of brevity, intelligibility and expressiveness, the poster uses especially sharp typification of images and widely uses such conventionally decorative techniques as generalization of the image, simplification of color relationships, rejection of minor details, symbolic designations, and the combination of different scales. The text, which is an obligatory element of the poster, should be extremely brief and understandable from the first reading (the only exception is instructive and educational posters). The text should not be mechanically attached to the image, but organically included in it. The nature of the font should correspond to the content of the poster, it should be easy to read. The inscription is an element of the poster composition for the artist. Of course, thinking about the observance of all these requirements, the artist strives by all means to preserve the integrity, composure of the poster within the sheet of paper.
Types of posters are diverse and are divided into several groups according to their purpose.
Political poster - the main, most important type of poster. It is he who is one of the most effective forms of political agitation, embodies political tasks and slogans by visual means. The subjects of political posters are unusually broad: in our conditions they are devoted to the struggle to fulfill the tasks of building communism, the struggle for peace, call for the strengthening of the socialist camp, and are aimed at exposing the enemies. Many posters are created in honor of revolutionary holidays, international events, etc. Satirical posters have acquired great importance. A satirical poster is almost always associated with a literary text. The special popularity of these combative and sharp posters brought to life the association of poster-satirists ("Windows of Satire ROSTA", "Windows TASS", "Combat Pencil", "Agitplakat").
An information and advertising poster solves the problems of information, notification of various cultural and educational events (performances, films, lectures, exhibitions, etc.) or advertising tasks - familiarizing consumers with goods, services provided by various institutions and organizations. An advertising poster in our conditions pursues the tasks of truthful and cultural information, assistance in choosing a product and educating the taste of the consumer. Theatrical posters and film posters are endowed with special qualities. Performing the tasks of advertising performances or films, they must simultaneously reflect the style inherent in this spectacle, the creative aspirations of its authors.
The educational and instructive poster aims to promote scientific knowledge, labor methods, various rules (safety, sanitation and hygiene, fire fighting, etc.), and also helps to solve educational problems. The instructional poster, unlike other types of poster, contains a significant amount of text, a whole series of drawings and is intended for longer use. Educational posters serve as a visual aid in the educational process.
The poster in its usual form arose relatively recently - at the end of the 19th - beginning of the 20th century. The modern poster was preceded by engravings and drawings of large size, dispersed by hand, pasted on the walls, exhibited in shop windows and windows. In 16th century Germany they were known as "flying leaves". Such propaganda images were widely distributed during the bourgeois revolutions of the 17th and 18th centuries in England, France and Holland. A similar role in Russia was played by large luboks, as well as anti-Napoleonic sheets of 1812. With the invention of new methods of reproduction and the development of printing, the circulation of campaign sheets increased. At the end of the 19th century, posters appeared that were similar to modern ones in purpose and appearance. Such great masters as T. Steinlen, F. Brengvin, A. Toulouse-Lautrec, K-Kollwitz and others worked on the creation of various posters. Among modern foreign posters, the works of A. Bertrand (Mexico) and G. Erni (Switzerland) dedicated to the struggle for peace stand out. Particularly noteworthy are the excellent posters by the artists of socialist Poland, significant and deep in content, made in excellent poster language (posters by T. Trepkovsky, T. Gronovsky, A. Bovbelsky, Z. Kaya).
From the first days of Soviet power, the poster in our country has received the widest distribution and recognition as a vital, operational and deeply party art. Attaching great importance to the poster as a means of political agitation, our Party closely follows its development and helps in every possible way to improve its ideological content and skill. Evidence of this are the resolutions of the Central Committee of the Party and all-Union meetings devoted to political posters. During the civil war, the restoration of the national economy, during the years of the first five-year plans, the poster played a significant role, and Soviet poster artists were in the forefront of the fighters on the ideological front. High examples of poster art are, for example, Moor's posters "Have you signed up as a volunteer?", "Help." A. Deineka, M. Cheremnykh, N. Dolgorukov and other artists worked a lot in the poster. Great was the significance of the satirical posters "Windows of satire ROSTA", in the creation of which V. Mayakovsky, S. Malyutin, A. Radakov and others took an active part. Mobilizing their forces to defeat the enemy during the Great Patriotic War, Soviet artists worked especially hard and successfully on the creation of posters that were distinguished by passion and a high patriotic spirit. According to the model of "Windows of satire ROSTA", "Windows TASS" were created. In besieged Leningrad, the "Fighting Pencil" association arose. Not only graphic artists worked on the posters, but also many painters. The posters of the Kukryniksy, Efimov, Golovanov, Kokorekin, Dolgorukov, V. Ivanov, Toidze, Shmarinov, Serebryany will remain in the memory of the Soviet people for a long time. In the post-war period, there were attempts to turn the poster into a kind of color photograph with text glued to it. The longest quotations were printed in movable type in the posters.
Standard, "prosperous" people-schemes appeared on the posters with a "duty" smile on their faces, almost unchanged, wandering from poster to poster. Having successfully overcome these mistakes, having returned to the poster its best fighting qualities, experienced poster masters and young people are actively working in various genres of this art. In Moscow, Leningrad and other cities, satirical posters of the "Fighting Pencil", "Agitplakat" and other associations are very popular. The viewer is familiar with the posters of Soviet artists V. Ivanov, Kukryniksy, N. Denisovsky, M. Gordon, K. Ivanov, V. Govorkov, V. Briskin, M. Mazrukho, K. Vladimirov, G. Kovenchuk and other artists.
