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Moscow in Poster Art Удк 769.91.03 Ббк 85.153(2) C 536 A. SNOPKOV P. SNOPKOV A. SHKLYARUK MOSCOW IN POSTER ART УДК 769.91.03 ББК 85.153(2) C 536 Moscow GOVernment Publishing programme This publication has been printed with financial support from the Moscow City Department of Mass Media and Advertising Writer and designer: Alexander Shklyaruk With assistance from Fedor Shklyaruk Translation by Dmitry Aleshin Photographer: Nikolai Alekseev, Fedor Shklyaruk Snopkov A. E., Snopkov P. A., Shklyaruk A. F. Moscow in Poster Art. — M.: “CONTACT-CULTURE” Publishing House, 2014. — 256 p.: 277 illustrations. ISBN 978-5-903406-47-0 The “Moscow in Poster Art” album is made to bring you a comprehensive collection of Russian posters dedicated to the most important stages of the historical development of Moscow from the end of the XIX to the start of the XXI century. It is meant to demonstrate the position and role of Moscow in the political, military, social, scientific, industrial, commercial, cultural and sporting life of our country. It includes 277 posters published from 1884 to 2013 from the public and private collections. Several are exceptionally rare single copies. Written for a wide audience. Summary in Russian. © “CONTACT-CULTURE” Publishing House Ltd., 2014 © Snopkov A. E., Snopkov P. A., Shklyaruk A. F., 2014 © Shklyaruk A. F., text, design, 2014 All rights reserved. Any use of materials from this album in full or in part without permission of copyright holders is prohibited. MOSCOW IN POSTER ART Alexander Shklyaruk Moscow posters are unique in the history of Russian poster art. It was In the last days before World War I, Moscow firmly takes its place as in Moscow that the essence of our national mentality – to serve Russia’s main agricultural science center. The city holds conferences, the government and its people – was embodied through art. Just like congresses and large agricultural exhibitions, which are always all Russian posters, those in Moscow had many topics: commerce, accompanied by colorful posters. Unlike their trade and manufacture industry and entertainment advertisements, information on subscribing brethren, these had large amounts of text and attempted to realistically to periodicals and new books. Their most important role, however, was portray agricultural works. to reflect the many important political, social and cultural processes Apart from representing a wide assortment of goods on the market, going on in the life of the city. The picture of Moscow in poster art is Moscow trade and manufacture commercials also played a part in variegated; after all, it is a selective art form. Their purpose is to present form­­ing citizens’ patriotic tastes. A favorite trick was adding the Moscow information about upcoming events and new products. Poster design is Kremlin to signify the product’s origin. It is visible through the win- the art of persuasion using colorful images and short texts. The many dows of a tavern with a bowl of mouthwatering red lobsters and great artists whose names you will see on the pages of our album all an amber bottle of Shabolovsky beer on the table in front of it (1896), served this art form. its golden domes can be seen through the open curtain on the Sporov’s tea commercial (1903). The silhouette of the old Kremlin walls, towers It is traditional to connect the birth of poster art with illustrated and cathedrals along with the Ivan the Great Bell Tower becomes book commercials that appeared in the second half of the XIX century a trade mark of the city, as can be seen, for example, on the poster and were made by lithography. However, it was only truly born in dedicated to the Russian Society of Linen industrialists congress and the end of the XIX century, when all areas of society, trade, culture and exhi bition (1910). politics turned to posters to be their messengers and cities received spectacular decorations for their streets, squares and shop windows. The end of the XIX century was also rich with posters dedicated to The Russian poster first showed its worth in industry and trade, public entertainment: small-format billboards and opera, ballet and since some of the biggest events in the country and beyond its borders, theater performance, ball, concert and masquerade posters. These were the many exhibitions and trade fairs held all around the globe. commercials were very similar to trade posters and combined elements Naturally, the country thoroughly prepared for them and that prepa- of traditional set font with drawn lithographic compositions, revealing ration included the printing of colorful advertisements. The posters of the show’s contents. It’s important to note that until 1881, the govern- Moscow’s factories distinguished themselves by strictly adhering to ment had a monopoly on theaters, so there were no private ones in the national style in their subjects, decorations and fonts as well as their Moscow or Saint Petersburg and the Moscow printing house only emphasized equality in picturing people of different social classes. made commercials for the Bolshoi and Maly Imperial Theaters. One of the first well-known Moscow posters was a commercial for The posters dedicated to anniversary productions were restrained in M. V. Sadomova’s paper factory (1884), which depicted the factory’s their colors, but remained expressive thanks to their complicated owner in a national Russian costume standing on a pedestal with compositions and ever-present portraits of famous Russian composers the word “Russia” printed on it. In the beginning of the XX century, and writers, the shows’ characters and miscellaneous decorative changes crept into industrial and trade advertisements and the role of vignettes. Russian style was somewhat diminished. An example of this would be The opening of the Korsh Theater in 1882 was an important event the poster of Emil Tsindel’s famous textile factory in Moscow, which in the life of Moscow’s citizens. It preceded the opening of depicted several scantily clad beautiful nymphs dancing around S. I. Mamontov’s Private Opera House and the appearance of smaller a pedestal decorated with colorful fabrics. The fabrics’ specific character, theaters such as M. V. Lentovskiy’s Operetta Theater and Shelaputin’s which was affected by modernism, demanded the use of a special Theater. symbolic language in the poster. This is one of the few posters in which The Moscow Art Theater gave its first performance in 1898 and the national character is only expressed in the text. S. I. Zimin’s Opera House – one of Moscow’s favorite cultural centers – Sweets, such as chocolate, candy, cookies and cocoa were in was opened in the beginning of the XX century. constant demand and so were always among the most advertised The Moscow Art Theater was the first to decorate its small-format products. They attracted their buyers with original packages, diverse posters with drawn fonts and wonderful compositions by V. Simov assort ments and beguiling titles. Poster subjects were carefully (their 100th play, “Tsar Fyodor Ioannovich” by A. K. Tolstoy, 1901). selected and had to explain why theirs was the best product in N. Denisov made the colorful sheets, which combined attractive the most thorough way. Poster illustrations were accompanied drawings and traditional poster fonts for Shelaputin’s Theater (“Geisha”, by expressive texts. 1897). In view of this, the Bolshoi Imperial Theater emplyed the famous The posters from two of the leading Moscow businesses, S. Siu and Moscow painters Sergei Yaguzhinskii (The poster for the “For a good Co. (“Bolshevik”) and Einem (“Red October”) depicting children were cause” charity masquerade, 1901) and Apollinaris Vasnetsov (A charity both considered masterpieces. The author of Einem’s commercial used poster for the victims of the Moscow flood, 1908). Another popular the fact that the confectionery factory was located on the Moskva River Moscow painter, Boris Zvorykin, made the commercial for an anniversary across from the Kremlin. This allowed him to emphasize the special evening dedicated to Gogol in the Maly Theater (1902). importance if its products to Moscow’s citizens. The commercials for Moscow’s circuses were much more consistent Soap, perfumes and tobacco products were also actively adver- and successful. They always accompanied travelling circuses on their tised. The public was always aware of the novelties of the A. Ralle & Co. tours around the country and were graphic representations of Association, which was as well-known in Moscow as G. Brokar’s the renowned performers’ routines, be they jugglers, acrobats, manufactory. One of these novelties was the “Imperatis” series, which strongmen, equestrians, animal handlers or illusionists. Circuses were had a refined “Eastern” aroma. Its poster showed a black servant – very popular among Moscow’s citizens: both the Salamonsky and the symbol of the series – giving an exquisite lady one of their most Nikitin were always sold out. In the beginning of the XX century, they expensive perfume sets. Among the city’s cigarette manufacturers, were joined by the Vladimir Durov Animal Theater. After finally settling the leader was the Ducat factory, which belonged to the Gabay family. down in the city, the famous animal trainer and clown commissioned For a long time, they portrayed the figures of elderly men on their S. Zhivotovskiy (Pierre-O) to create a commercial for the newly built city products, which symbolized calm, secure old age. attraction. The result depicted Durov himself surrounded by unusual 3 actors, the interior of the theater hall with its original architecture and L. Pasternak, I. Nivinskiy, N. Andreev, N. Piskarev, G. Pashkov, A. Apsit Farman and Bleriot airplanes whizzing across the sky with their four- (Petrov), N. Denisov and many more. legged pilots (around 1911). In the days before World War I, many of Moscow’s periodicals, Sporting events entered the number of new fascinating mass newspapers and magazines, became popular with the public.
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