sign in sign up
<<
Home , Gustav Klutsis, Stenberg brothers, Valentina Kulagina

Gustav Klutsis Poster Collection 1930–37 1 For Sale from Productive Arts

This collection of historically important posters by are excep- tional examples of how the avant-garde artist and celebrated graphic designer pioneered the use of in Soviet political poster design.

Howard Garfinkel and Larry Zeman of Productive Arts became interested in avant-garde art and design after traveling to as students in 1971. Productive Arts was formed in 1989 to offer Constructivist and Soviet-era posters, graphics, illustrated books, journals, and photobooks. In 2008, they became members of the Antiquarian Booksellers’ Association of America (ABAA) and the International League of Antiquarian Booksellers (ILAB).

The twenty-three posters featured in this catalog are one of the largest accu- mulations owned by private hands. Four posters in the group were included in the comprehensive exhibition Gustav Klutsis and : Photography and Montage After at the International Center of Photography, New York City, 2004.

The collection is sold en bloc. All posters are in very good, original vintage condition. Price, additional photos and detailed condition reports are available upon request.

!PRODUCTIVE ARTS!

Howard Garfinkel and Larry Zeman [email protected] www.productivearts.com 216.262.0578

2 3 Gustav Klutsis Poster Collection 1930–37

Published between 1930 and 1937, the collection of Gustav Klutsis (Latvian, art (drawing, , engraving), with backward technique and methods of 1895–1938) posters featured in this catalog span the period from the early work, turned out to be inadequate to the mass agitation of the Revolution”. years of ’s Five-Year Plan and end shortly before the artist’s Instead, Klutsis declared photomontage to be the new art form for socialist arrest and execution in 1938. Together, these posters not only complement industry and it was quickly supported by society and government. the critical policies supporting new government initiatives, but also illustrate how the aspiration of one artist responded to the confluence of utopian Klutsis and his wife and collaborator, Valentina Kulagina (Russian, 1902– objectives and ideological struggles of the proletariat in the shadow of 1987), often photographed themselves as peasants, coal miners, and repressive doctrines. Klutsis’ masterful handling of photomontage in poster members of the proletariat and utilized these images as elements in their design confirms his role as one of the most prominent 20th-century revolu- . By placing themselves in the posters, as staged workers and tionary artists. next to images of actual workers, they demonstrated how photomontage prac- titioners were integral to the technological revolution as much as factories, The earliest posters of this collection exhibit the daring graphic language agricultural systems, coal mines and heavy industry. of Constructivism and reflect the modern, industrialized which broke away from the traditional art of the past — dynamic compositions using This collection reveals Klutsis’ gradual, visual shift away from Constructivism, scale, contrast and repetition; heroic imagery; revolutionary colors; promi- toward depictions coinciding with the adoption of “Socialist Realism” as the nent diagonals; bold sans-serif typography and asymmetry. Klutsis’ unique official Soviet style of art and literature. The once-celebrated photomontage poster design process combines these avant-garde Constructivist principles was met with irritation by the government as being too inaccessible, monoto- with multi-layered and fragmented photomontages featuring images of farm nous and ambiguous. Beginning in approximately 1932, heroic images of the equipment, factories, workers, peasants and other contributors of the new all-powerful Stalin towering above the masses begin to replace the proletar- economy. As a result, the posters convey the ambitions and praise for agricul- ian worker. The typography is no longer energetic or arranged with purpose; ture, industry, technology, labor and the proletariat. Klutsis further empha- blocks of color are replaced by red banners; symbolism is overshadowed sizes these visual messages by using political slogans and policies of Stalin by naturalism. It is unclear how much Klutsis subscribed to Stalin’s cult of such as: “We will Repay the Coal Debt to the Country”, “Building of Soviet personality or whether the State Publishing House of Fine Art [Izogiz] contrib- Farms and Collective Farms is the Building of Socialism in Rural Areas”, and uted to his change in style. Undoubtedly, there were questions regarding “The USSR is the Shock Brigade of the World Proletariat”. Klutsis’ loyalty. He was accused of participating in a Latvian fascist group and was killed as part of Stalin’s Great Purge (1938). Klutsis had a profound commitment and enthusiasm for Agitation Art (agita- tion–propaganda or agitprop) — a form of propaganda promoting Communist This significant collection of posters are visual proof of Klutsis’ prolific achieve- policies and information. In 1931, Klutsis wrote “Photomontage as a New ments to avant-garde design and are an expression of his creativity and Problem in Agitation Art”, published in Art-Front: Class Struggle on the Visual passion in the midst of changing ideological struggles. Arts Front [Izo-front: Klassovaia bor’ba na fronte prostranstvennykh iskusstv] by the October Art Group, whose members included Klutsis, , and Sergei Senkin. He wrote “The old kinds of visual

4 5 Selected Milestones

1915 pioneers a new art movement 1916 Dadaists in including John Heartfield, 1917 The Russian Revolution, marked by the 1918 Klutsis enrolls at or ‘Higher in his manifesto From Cubism to . George Grosz, Kurt Schwitters, Raoul February Revolution and the October Art and Technical Studios’, the state-run Similarly, Vladimir Tatlin develops a new Hausmann and Hannah Höch begin Revolution abolishes the monarchy of Tsar school in specializing in avant- approach named Constructivism. Both methods experimenting with photomontage. Nicholas II. and the Bolsheviks garde art. Malevich is one of his professors. focus on geometry, form and contrast. form a new Communist government. Valentina Kulagina, Klutsis’ future wife and Cut with the Kitchen Knife through the collaborator, is also a student at the school. The Last Futurist Exhibition of 0,10 Last Weimar Beer-Belly Cultural Epoch in Lenin, photo by Grigori Petrovich Goldstein, catalog, 1915 Germany, by Hannah Höch, 1919 1919 Klutsis and Kulagina photomontage by Kulagina, 1922

1920 Klutsis joins the Russian Communist Party. His 1922 Erste Russische Kunstausstellung Berlin, the 1923 Both Klutsis and Rodchenko design publi- 1924 Revolutionary leader Lenin, whose heroic early work of this period reflects Constructivist first exhibition of Russian art takes place. 167 cations using photomontage techniques. image is frequently used in Klutsis photo- and Suprematist influences from VKHUTEMAS artists are featured including Klutsis, Malev- Rodchenko designs LEF journal by the montage designs and propaganda posters, combined with political ideas and photomontage. ich, Alexander Rodchenko, El Lissitzky, and group Left Front of the Arts and Pro Eto. Ei dies. Joseph Stalin succeeds him. Klutsis, He creates his first photomontage Dynamic City Tatlin. Walter Gropius and László Moholy-Nagy i Mne, both done in collaboration with poet Rodchenko, and Sergei Senkin publish The in 1919. His designs for publications consist of attend and subsequently introduce new ideas Vladimir Mayakovsky. Young Guard: For Lenin [Molodaia gvardiia. geometric and architectural forms. about art and industry to the Bauhaus. Leninu] with 17 photomontage illustrations. Six Years of the Red Army, photomontage by All-Russian Union of Poets: Second Collection of Erste Russische Kunstausstellung catalog, Klutsis (from the journal Smena), 1924 Photomontage by Klutsis (from the journal Poetry, cover by Klutsis, 1922 cover by El Lissitzky, 1922 Molodaia gvardiia), 1924.

1927 All-Union Printing Trades Exhibition [Vsesoi- 1928 International Press Exhibition [Internationale 1929 Following the launch of Stalin’s first Five- 1931 Klutsis article “Photomontage as a New uznaia poligraficheskaia vystavka], featuring Presse-Ausstellung] is held in Cologne. Klutsis Year Plan in 1928, Klutsis begins work on a Problem in Agitation Art” is published in Soviet poster design, takes place in Moscow. and Senkin contribute preliminary designs poster series to promote the new economic Art-front [Izo-front]. In it, he proposes the Klutsis has a large number of posters on but the final Soviet Pavilion is organized by policies around industrialization and agricul- methods, processes and ideologies of display and assists Lissitzky in organizing the El Lissitzky and receives attention for its ture. His posters from this period represent photomontage. The same year, the Foto- exhibition. groundbreaking design. The main attraction a high point of Soviet photomontage design. montage exhibition takes place at Staatliche is a photomontage by Lissitzky that is over 23 Museen, Staatliche Kunstbibliothek, Berlin. All-Union Printing Trades Exhibition, poster by meters long showcasing modern Soviet life. We Will Repay the Coal Debt to the Country, and Alexei Kravchenko, poster by Klutsis, 1930 Art-front, 1931 1927 International Press Exhibition catalog, 1928

1932 The Poster in the Service of the Five-Year 1934 Beginning in 1933, Klutsis composes photomon- 1937 Klutsis is involved in the design of the Soviet 1939 After Klutsis’ death, photomontage designs Plan [Vystavka “Plakat – na sluzhbe piatil- tage designs for newspapers. In 1934, the First Pavilion at the World Exhibition and by Viktor Koretsky are featured in special etki”] takes place at the . Congress of Soviet Writers takes place, headed creates his last newspaper photomontage. issues of Pravda and other newspapers where Over 300 works are shown reflecting the by Maxim Gorky. Socialist Realism is officially Accused with other Latvians of disloyalty to Klutsis designs previously dominated. Koretsky changing political climate and move toward adopted as the style of Soviet literature, art and the party, Klutsis is arrested and executed becomes a prolific propaganda poster designer Socialist Realism over Constructivism. culture. under Stalin in 1938. using the style of Socialist Realism.

The Poster in the Service of the Five-Year Literaturnaya Gazeta, newspaper announcing Literaturnaya Gazeta, front-page design by Pravda, newspaper announcing opening of Plan, poster by Stenberg Brothers, 1932 opening of All-Union Congress of Soviet Writers, Klutsis, November 5, 1937 All-Union Agricultural Exhibition, front-page August 17, 1934 design by Koretsky, August 1, 1939

6 7 First of May — Day of the International Proletarian Solidarity [1 Maia den’ mezhhdunarodnoi Proletarskoi solidarnosti], 1930

First of May celebrates the Soviet color of the background. Energetic Union’s most significant holiday and bold typography is placed on an uniting workers and honoring the angle symbolizing a forward-moving achievements of building the new trajectory. The split composition economy. A young man and joyous provides contrast between the red woman wave a steep diagonal background and sepia-toned images flagpole over a crowd of enthusias- of the collective demanding inter- tic proletariat heroes. A Soviet red national solidarity. 41 1/8 x 29 1/8”, banner is implied by the flat, red unrestored.

8 9 Komsomol to the Shock Work of the Seasonal Sowing [Komsomol’tsy na udarnyi sev], 1930

The All-Union Leninist Young As a recruitment tool, it visualizes Communist League was the political committed young men (perhaps youth organization commonly known Klutsis in one image) and women as the Komsomol. Its members were (one wearing a bright, red kerchief), taught proletarian, revolutionary, who are elevated to a level of and communist values, engaged equality with men, and participating in sports and other activities and enthusiastically during the harvest served as free youthful labor. This and towards their collective strug- idealistic poster, meant to persuade gle; which for many seemed to be people to join the Kolkhoz farms, repeatedly unachievable. A distinc- makes use of scaled and repeated tive palette of green and multi-col- images of harvesting equipment and ored lettering is used. 40 3/4 x 29”, workers, waving red banners to help unrestored and framed, Ukrainian provide a sense of movement and language version (Russian language technological progress within the shown in image). agricultural sector of the economy.

10 11 Building of Soviet Farms We Will Turn the Five–Year Plan and Collective Farms is the into a Four–Year Plan [Usiliiami Building of Socialism in Rural millionov rabochikh vovlechennykh Areas [Stroitel’stvo Sovkhozov v Sotsiali-sticheskoe i Kolkhozov—eto Stroitel’stvo sorevnovanie], 1930 Sotsializma v derevne], 1930

A key ambition for Stalin during and a broad view of soil being culti- palette, sharp composition and Designed to help support Stalin’s initiative’s successes and projec- steel workers and factory production, his first Five-Year Plan (1928–32) vated is integrated with succinct text contrasting diagonals. 41 1/4 x first year of the Five-Year Plan tions regarding productivity, hired as well as stepped type that follows was to get farms to increase agri- telling a more factual story about 27 3/4”, restored. achievements which concentrated labor, manufacturing costs and work- the slope of the crane, advances cultural production (more food for the achievements of Stalin’s agricul- on the rapid development of heavy er’s wage: “To raise productivity of the ambitions of industry and urban consumption), a policy made tural industry — this poster is less industry, Klutsis’ narrative uses labor 25%”, and “To lower manufac- worker productivity while providing possible by implementing collective about symbolism and more about a glorified industrial imagery, dedi- turing costs 11%”. The boom of the the poster’s strength and dynamic, and state-run farms. Dynamic angled narrative. The design is notable for cated workers, pragmatic text and heavy industrial cranes, fragments diagonal composition. 40 3/4 x 28 7/8”, imagery of harvesting equipment its dynamic lettering, expanded color optimistic slogans which praised the of a demonstration, coal miners, restored.

12 13 In the Storm of the Third Year of the Five-Year Plan [Na sturm 3go goda piatiletki], 1930

In the Storm demonstrates the for the forging tool, Klutsis does energy and progress of the Soviet not show any actual machinery and steel industry during Stalin’s first instead, only a small factographic Five-Year Plan (1928–1932). The photomontage of industrial production Communist position toward produc- in the lower right corner. The strong tion and collectivization is visualized typography, including a stylized, serif by three, tightly grouped abstract- “3”, is placed in a forward-moving like steel workers. By removing the angle. 40 3/4 x 29 1/4”, unrestored. individuality of the model workers, Included in the exhibition “Gustav these merged images, with their Klutsis and Valentina Kulagina: outreached and joined arms devoid Photography and Montage After of any background become a symbol Constructivism”, International Center of production and progress. Except of Photography, 2004.

14 15 We Will Repay the Coal Debt to the Country [Vernem ugol’nyi dolg strane], 1930

Published thirteen years after the rugged and powerful equipment: a October Revolution, this propaganda handheld modern pneumatic mining poster is perhaps one of Klutsis’ drill, mallet, safety lamps and an finest. It praises the model coal air hose. The diagonal composition, worker; synonymous with hard work, further activated by the miner’s increased production and growth equipment (air hose, drill and of Soviet industrialization in coal mallet) leans left and the closely producing regions such as Donets cropped unexpected “worms-eye” Basin (Donbass) in Soviet Ukraine view makes for an unconventional where Klutsis had traveled to. In an photograph, one that provides a aim to be more easily understood by dynamic tension with the perpen- the masses, the poster embodies dicular lettering. The poster gives a true to life portrayal of workers a larger than life impression of the and one that captures the essence monumental and heroic Russian of activity, progress and reliability. Soviet coal miners. 41 x 29 1/4”, Steadfast, determined and dominat- unrestored. Included in the exhibi- ing the space, the three loyal coal tion “Gustav Klutsis and Valentina miners step forward downstairs. Kulagina: Photography and Montage Klutsis stands in the middle between After Constructivism”, International an older and younger miner; carrying Center of Photography, 2004.

16 17 “PROLETARIAN INDUSTRIAL CULTURE, WHICH HAS ADVANCED THE MOST EXPRESSIVE METHODS OF AFFECTING THE MASSES, USES THE METHOD OF PHOTOMONTAGE AS THE MOST AGGRESSIVE AND EXPRESSIVE MEANS OF STRUGGLE.”

Gustav Klutsis Photomontage as a New Problem in Agit Art, 1931

18 19 Anti Imperialistic Exhibition [Anti Imperialistichesnaia vystavka], 1931

“Let’s transform the imperialist war while promoting a political call to into civil war”, reads Lenin’s quote action — for the proletariat to keep on the Anti-Imperialist Exhibition a careful watch for possible dangers poster, which opened in August, of imperialism. The exhibition’s title 1931 in the Park of Culture and radiates from the artillery periscope Recreation (Gorky Park), Moscow. (or trench) binoculars viewed by a Organized by the Federation of member of the Red Army flanked Associations of Soviet Artists by African and Asian people. The (FOSKh, publisher of The Brigade of binoculars dwarf a montage with two Artists), this colossal survey included figures walking among rows of white 476 fine and applied works from crosses, and an active military scene more than 200 Russian and foreign of perhaps German troops. The top artists including: Klutsis, John text reads, “The world’s art strug- Heartfield, Käthe Kollwitz, George gling with imperialism”. An active Grosz, Théophile Steinlen, Otto Dix, visual vocabulary heightened by serif Frans Masereel, William Gropper and and sans-serif lettering, diagonal others. The propaganda poster has composition and expansive areas of a dual purpose: to communicate the color. 41 x 29 1/2”, unrestored, two exhibition information (dates, hours, sheets separate with minor paper location, directions and organizers) loss (shown above).

20 21 Let’s Provide Millions of Qualified Worker Cadres to the 518 New Factories and Production Units [Dadim milliony kvalifitsirovannykh rabochikh kadrov dlya novykh 518 fabrik i zavodov], 1931

Klutsis’ distinctive graphic direction female workers in a snake-like in this poster promotes the notion procession heading downhill to that labor and Stalin’s industrial- the factory. This unique design ization ambitions are both patri- honors the workers (not the artist), otic and voluntary. It was used as and lacks Klutsis’ more familiar an educational device posted at graphic vocabulary including: workers meetings in the streets of sharp diagonals, large spacious Moscow, promising workers a new areas of color, and photographic future ­­— not necessarily connected fragmentation. 55 3/8 x 40 1/8”, to reality given Stalin’s repressive unrestored, two sheet separate. policies. By re-assembling existing Included in the exhibition “Gustav images into a photomontage, Klutsis Klutsis and Valentina Kulagina: stages a legible narrative, similar Photography and Montage After to storyboarding which depicts Constructivism”, International a diverse group of individuals — Center of Photography, 2004. enthusiastic proletariat male and

22 23 Labor in the USSR is a matter of Shock Workers! In the Battle for the Honor, Glory, Valor and Heroism Mobilization of Domestic Resources [Trud v SSSR – Delo Chesti, Slavy, [Udarniki! V boi za mobilizatsiiu Doblesti, i Geroistva], 1931 vnutrennikh resursov], 1931

A political propaganda poster built of industrial materials. Although A heroic steel mill worker wearing the workers are all featured around the promoting the notion of labor as the slogan promises to reinforce typical welding/safety goggles and red banner or along the margins. Two heroic and patriotic; ideas compli- patriotic ideas, these same words carrying industrial tongs is the focus patriotic seals, one honoring Lenin, ant with Stalin’s policies on indus- appeared on the entrances to Soviet of this poster. Klutsis compartmen- hover on the red background. trialization. At the top left, a list of labor camps. Photographic frag- talizes the design by using angular 55 7/8 x 40 3/8”, restored. respected workers pays tribute to ments of proletariat male and female shapes and flat red color to mimic the country’s heroes. A red banner surround the newly built structures a flag. Steel furnaces (production), containing the poster’s slogan is with a factory in the distance. agricultural (or harvesting) equip- mounted on a monumental tower 55 5/8 x 41”, restored. ment (technology) and productive

24 25 The USSR is the Shock Brigade of the World Proletariat [SSSR– Udarnaia brigada Proletariata vsego mira], 1931

The defiant and productive shock Soviet construction participation worker in overalls forcefully thrusts and International Solidarity. The his flagpole and red banner forward, angled typography bolsters the symbolizing the Soviet state and its urgent slogan. One of Klutsis’ force of highly productive workers most recognizable designs, this central to defending Communism. poster’s strength radiates from its’ This massive portrait overlooking a heroic image, contrast of scale and small multi-ethnic group of enthu- assertive diagonals. 56 3/4 x 40 7/8”, siastic proletariat and committed unrestored, two sheets separate, politicians reinforces the idea of minor paper loss.

26 27 Civilized Life — Productive Work [Kul’turno zhit’ – proizvoditel’no rabotat], 1932

Designed to engage with the political promoting women’s rights, culture and youth organization Komsomol, this positive working conditions, Klutsis poster features a doctored, monu- makes the most of the proposed living mental photograph (by S. Blokhin, improvements. However, for many published in Proletarskoe Foto, 1932, workers, the promised benefits of life nr. 7-8) of the handsome face of a outside the factory, were often discon- steelworker named “Lukashov” who nected from the harsh realities of daily advanced to engineer at Moscow’s life. A strikingly convincing poster, and “Hammer and Sickle” factory. The an unusual departure from Klutisis’ persuasive poster’s model worker graphic language used in previous overlooks a montage of an idyllic, works. 56 3/8 x 40 3/4”, unrestored, two lush and serene Stalin neighborhood. sheets separate, minor paper loss. Similar to other posters designed during Stalin’s repressive years

28 29 Long Live the Multimillion-Member Leninist Komsomol [Da zdravstvuet mnogomillionnyi Leninskii Komsomol], 1932

The All-Union Leninist Young age) men and a smiling woman are Communist League was the political proudly marching and carrying rifles youth organization commonly known over their shoulders. The prevalent as the Komsomol. Its members red banner reads “Long live the learned proletarian, revolutionary, million strong Lenin’s Komsomol!”. and communist values; engaged Their fearless stature dwarfs the in sports and other activities; crowds of fellow Komsomol in the served as free youthful labor; and background. The poster is notable were admired for their courage, for helping to elevate young women outstanding achievements, and in society. 56 7/8 x 40 3/4”, restored, noble qualities. In this poster, two print information in margin. Two young (eligible Komsomol members copies of this poster are included in ranged from approx. 14–28 years of the collection with minor differences.

30 31 Warm Wishes to Maxim Gorky The Struggle for Heat and [Maksimu Gor’komu, plamennyi Metal [Na bor’bu za toplivo, privet], 1932 za metall], 1932

The Soviet writer, Alexei Maximovich in 1932 from Berlin back to the Lenin appear in bold typography The subject of the coal miner was Ukraine. It glorifies the workers and participant with the proletariat Peshkov (1868–1936), commonly Soviet Union by Stalin’s invitation. including: “...Gorky is an enormous perhaps, Klutsis’ favorite, as seen in the forces of production associated struggle; this may have validated known as Maxim Gorky, was polit- On Gorky’s return, he was widely artistic talent, which brought and other posters he designed. Klutsis with coal and steel during Soviet his ideas that the worker is above ically active during the emerging celebrated in theaters with reprints will bring many benefits to the whole aligned with the common values of the industrialization. The heroic individu- the artist. 54 5/8 x 38 7/8”, restored. cultural revolution and dangerously, of his writing, scholarships for higher world proletarian movement...” collective and, here, includes a repre- als are dressed in worker’s clothing Included in the exhibition “Gustav publicly opposed to the Tsarist education, and the founding of Gorky 36 9/16 x 23 9/16”, restored. sentational photograph of himself and hats, with safety lamps, mining Klutsis and Valentina Kulagina: regime. Gorky is recognized as the Institute of World Literature. Upon (possibly by Valentina Kulagina) as drill and a forging tool, standing Photography and Montage After pioneer of proletarian literature. his death in 1936, the institution the coal miner. This poster may have monumentally over an active and Constructivism”, International Center This poster celebrates the fortieth of higher education, Maxim Gorky been conceived, during a trip Klutsis elaborate landscape of industrial of Photography, 2004. anniversary of the creative literary Literature Institute was established. made to Donets Basin (Donbass), the factories. Klutsis’ frequent trips activity of Gorky and his return Slogans and quotes by Gorky and major coal-producing region in Soviet kept him an engaged and active

32 33 “THE AGITATION POSTER, THE BOOK COVER, THE ILLUSTRATION, THE LENIN SLOGANS, THE WALL NEWSPAPER, THE RED CORNERS – ALL OF THIS REQUIRED NEW, INTENSE, LIVING, PRECISE FORMS OF COMMUNICATION.”

Gustav Klutsis Photomontage as a New Problem in Agit Art, 1931

34 35 The Victory of Socialism is Under the Banner of Lenin, We Guaranteed in Our Country were Victorious in the Battle for the [Pobeda Sotsializma v nashei October Revolution [So znamenem strane obespechena], 1932 Lenina pobedili miy v boiakh za Oktiabr’skuiu revoliutsiiu], 1933

This poster references the comple- of Stalin’s power and strength. The multiple flags. The formulaic Stalin By 1933, images of Stalin in posters are treated differently: Stalin’s is the October Revolution. Under the tion of Stalin’s first Five-Year Plan glorification of Stalin which had quote appears: “The victory of outnumbered Lenin. Here, the two clearer and personifies Lenin who banner of Lenin, we were victorious and was a popular device used grown in popularity (despite his Socialism in our country is accom- oversized leaders gaze to the left died in 1924 and is fossilized in in attaining decisive achievements in educationally at workers’ meetings authoritarian ways), is represented plished! The base of the socialist (perhaps suggesting past achieve- stone, made larger and eternal. the struggle to build socialism. Under in the streets of Moscow, as well as with an idolized and exaggerated economy is completed.” 55 7/8 x ments) on top of the prevalent red Stalin’s triumphant yet predictable the same banner, we will be victo- exhibitions. Unlike Klutsis’ previous image that protects the crowd of 40 1/8”, restored. banner, both towering over a mass political quote, which appeared on rious in our proletarian revolution works where he utilized up-to-date shock workers and engulfs the of people including: high-ranking multiple posters sits at the bottom: throughout the world.” 37 1/4 x 24 1/8”, facts and figures or relevant refer- industrial and agricutual landscapes leaders, revolutionaries, politicians “Under the banner of Lenin, we unrestored, on Russian linen. ences, this design is more symbolic below. Lenin’s profile can be seen on and the proletariat. The two busts were victorious in the battle for

36 37 Long Live the USSR, Model of Brotherhood Among the Workers of World Nationalities! [Da zdravstvuet SSSR - proobraz bratstva trudiashchikhsia vsekh natsional’nostei mira!], 1935

The colossal Stalin profile looking left, with the appearance of a teacher, towers over a sea of diverse, enthu- siastic and attentive, workers and supporters. Fanned out, patriotic banners canvas the background and the shear size of Stalin elevates him to cult status. 24 7/8 x 35 1/4”, unre- stored, Mari language version.

38 39 Raise Higher the Banner of Marx, Engels, Lenin, and Stalin! [Vyshe znamia Marksa, Engel’sa, Lenina i Stalina!], 1936

By 1933, Joseph Stalin had reached and Vladimir Lenin. Published to the leader (or Lenin’s successor). a stable level of achievement. commemorate the 50th anniversary Klutsis uses past revolutionary and Klutsis’ unusually large, landscape of Karl Marx’s death, the photo- political narratives and cheerful poster signifies the present admi- montage captures all four nearly crowds in the perimeters of the ration of Stalin as a cult figure: “a identically sized portraits, all with a poster. Dedicated to the founders man of learning, a revolutionary similar stare and situated against and leaders of the Communist thinker, a worthy teacher and a great red banners. While Marx, Engels movement and published in large, leader, demonstrating his ideological and even Lenin, look toward the multiple editions in more twenty lineage” among a group of respected future; Klutsis seems to intentionally languages. 18 1/2 x 37 3/8”, unre- communist thinkers and revolution- situate Stalin’s gaze directly at the stored, Tadzhik language version. aries: Karl Marx, Friedrich Engels viewer and by now, identifies him as

40 41 Be Proud, Be Glad, Become Red Long Live Pushkin [Ruhm und Ehre Army Soldiers [Bud’ gord, bud’ dem Grossen Volkspoeten Pushkin; rad. Stat’ Krasnoarmentsem v Slava velikomu Russkomu Poetu riad], 1936 Pushkinu!], 1937

This poster of oversized Red Army interested in the Soviet working class The Moskvichka poet, playwright, in Tsarskoye Selo (Tsar’s Village), books. Pushkin quotes frame the soldiers marching in front of tanks rather than the artistic elite. The text and novelist, Alexander Sergeyevich a former Russian residence of the composition. By 1937, Socialist or includes a partial poem at the reads, “Be proud, be glad, become Pushkin (1799–1837) was the imperial family near St. Petersburg; “Heroic” Realism took precedence, bottom by Vladimir Mayakovsky Red Army soldiers”. 37 3/8 x 24 3/8”, founder of modern Russian literature later named Pushkin in 1937 to ending a period of pioneering work. (1893-1930), the avant-garde, unrestored. and regarded by many as Russia’s commemorate the anniversary of Klutsis was arrested and executed Russian revolutionary poet and greatest poet. This poster celebrates his death. Below Pushkin is a sea of in 1938, this was his last poster utopian thinker, who lectured and a contemplative Pushkin, wearing enthusiastic men and women (young design. 59 3/8 x 41”, unrestored, addressed Red Army soldiers and his cloak and sitting on a park and old) waving their arms among German language version and Mari pioneers frequently and was more bench on top of a pedestal located red banners, flowers and open language version included.

42 43 44 45 Sources

Büchten, Daniela, editor. Propaganda! Russian and Norwegian Posters 1920–1939, Forlaget Press, 2014.

Dickerman, Leah, editor. Building the Collective: Soviet Graphic Design, 1917–1937: Selections from the Merrill C. Berman Collection. Princeton Architectural Press, 1996.

Pisch, Anita. The Personality Cult of Stalin in Soviet Posters, 1929– 1953: Archetypes, Inventions and Fabrications. ANU Press, 2016.

Photomontage Between the Wars, 1918-1939. Fundación Juan March, 2012.

Rowell, Margit, et al. The Russian Avant-Garde Book, 1910-1934. Museum of , 2002.

Teitelbaum, Matthew, editor. Montage and Modern Life: 1919–1924. MIT Press, 1992.

Tupitsyn, Margarita. Gustav Klutsis and Valentina Kulagina: Photography and Montage after Constructivism. International Center of Photography, Steidl, 2004.

Tupitsyn, Margarita. The Soviet Photograph, 1924–1937. Yale University Press, 1996.

Witkovsky, Matthew S., editor. Avant-Garde in Everyday Life: Early Twentieth-Century European Modernism. The Art Institute Chicago, Yale University Press, 2011.

Wolf, Erika. Koretsky: The Soviet Photo Poster: 1930–1984. The New Press, 2012.

46 47 Catalog Design and Text Patricia Belen and Greg D’Onofrio – designers, writers, and educators. Together, they co-founded Display, Graphic Design Collection (thisisdisplay. org) and Kind Company (kindcompany. com), a design office in New York City. Greg is co-author (with Steven Heller) of The Moderns: Midcentury American Graphic Design (Abrams, 2017).

!PRODUCTIVE ARTS!

© 2020 Productive Arts !PRODUCTIVE ARTS!

Howard Garfinkel and Larry Zeman [email protected] www.productivearts.com 216.262.0578

49