ISSN: 2158-7051 ==================== INTERNATIONAL JOURNAL OF RUSSIAN STUDIES ==================== ISSUE NO. 7 ( 2018/2 ) |
ICONOGRAPHY OF POWER: SOVIET POLITICAL POSTERS UNDER LENIN AND STALIN, By Ayse Dietrich*, Published by: University of California Press, Oakland CA. Written by Victoria E. Bonnell, Year of Publishing: 1998. Subject Area:
Soviet Political Art. Book Type: Art. Page
number 385, $44.95, ISBN-13:
978-0520221536, Paperback.
One of
the most important methods by which Soviet leaders attempted to influence
public opinion was through the use of political posters, which were seen as an
effective means to reach a broad public. The messages of these posters changed over
the course of Soviet history; in the initial stage of the 1917 Russian
Revolution political posters attempted to foster zeal for the revolution and
enthusiasm for creating a socialist society. Later posters were used to garner
support for the Bolsheviks against their primary opponent, the Whites, or for
social programs such as better health care or literacy campaigns. Following
Lenin’s death, Stalin took complete control of the Soviet state and was able to
use political posters to promote his agenda of industrialization,
collectivization of agriculture, Five-Year Plans and political discipline.
Through the use of strong, contrasting shapes and colors, photomontage and
diagonal lines political posters from Stalin’s era created a dynamic, powerful
impression.
This
book examines Soviet political posters from the years 1917 - 1953, focusing, in
particular, on the style of representation, the visual vocabulary and grammar
of political posters created in the period of the Civil War, the 1920s and
1930s, World War II and High Stalinism. It begins by discussing the ideology underlying
the Soviet attitude towards art, and how they reflected their view of their new
socialist society in political posters. The author investigates the role of
posters as symbolic representations of power and discusses how visual
propaganda is received today.
The
book contains six chapters, and in each chapter the author provides an analytic
framework based on a linguistic analogy, treating images as part of a visual
language.
Before
the Soviets, the centrality of visual images and rituals in Tsarist Russia,
especially in the Russian Orthodox Church made for a highly visual traditional
culture. The Russian Orthodox icon occupied a central place in Russian
religious practice, since the image itself had sacred powers for the Orthodox
believer. When the Bolsheviks came to power, they also appreciated the
effectiveness of images for reaching ordinary people with their message. Political
posters displayed in public places offered a more effective way of delivering
the Bolsheviks’ political views and occupied a central place in their strategy
to mobilize the population on a grand scale and implant a new orientation
toward the self and the social and political world. The party leadership
understood that traditional ways of thinking were deeply rooted and resistant
to change, therefore, the transformation of mass consciousness would require
extraordinary measures. As a result, the visual images on political posters were
the best means to implement their policies and to transform the masses.
The
author asserts that political artists took their inspiration from a number of
sources - Russian popular culture, commercial advertising, fine arts, religious
and folk art, classical mythology, the imagery of Western European labor and
revolutionary movements, and political art of the tsarist era. Different
elements were incorporated at different periods, and mythical elements from
these diverse sources were fused with contemporary ideology, creating a unique
visual language.
The
first chapter of the book is devoted to the iconography of the worker. According
to the author, the worker-icon proved to be a versatile symbol that could be
changed as official conceptions of the proletarian basis of political power
evolved. The worker-icon was also an important indicator of what was considered
sacred in Soviet society, since the proletariat was regarded as the chosen
class in Bolshevik ideology, and, according to the "laws" of
Marxism-Leninism, possessed the superhuman power to transform nature.
From
1919 to 1930, the dominant iconographic image in in Bolshevik visual propaganda
was the worker-blacksmith. However, after 1930 the blacksmith almost entirely
disappears from political art, and a new image of the worker appears. The
transformation of the worker-icon in the 1930s coincides with a general decline
in the representation of workers in political art and the shift of the sacred
center to a new locus.
The
second chapter focuses on the representation of women in early Soviet political
posters, beginning with a quotation from Joan Wallach Scott: "gender is a
primary way of signifying relationships of power”. She argues that important
messages about relations of domination and subordination, both in the realm of
social interaction and in the broader sphere of political life is conveyed by the
visual imagery of men and women. The depiction of gender has particular
significance in periods when authority relations are in flux, such as the Civil
War years and the 1930s. Civil War posters depicted a predominantly male world,
with women often being represented allegorically until 1920, when the first images
of the woman worker and the peasant woman appeared. Women were usually depicted
in a subordinate relationship to male workers and peasants, creating the
impression that women played a minor role in events until 1930. The exception
was collectivization, which was presented visually in the female idiom.
The third
chapter examines the visual representation of peasant women as part of the new
Stalinist ideology in the 30s. At this time political posters devoted to rural
themes began to depict collective farm women, transformed into a kolkhoznitsa. According to the author
collective farm woman were given a central place in Stalinist iconography. The
publisher Izogiz selected a few main
slogans and then the posters were distributed throughout the country; posters
for the non-Russian population were modified as necessary. Later in the chapter
the author discusses the effect of the collectivization campaign on political
posters.
Chapter
four examines the iconography of the Vozhd
(leader). The author discusses the
issues related to the depiction of Lenin’s image before 1924, noting that the
depiction of Lenin’s relationship with ordinary people was reserved. Under
Stalin, however, all forms of mass propaganda were used to praise and adulate
him, creating a virtual cult of Stalin. The author describes how Stalin takes
center stage in as a living god in visual propaganda, displacing both his predecessor
Lenin and the proletariat as the core elements in Bolshevik mythology.
Chapter
five focuses on the issue of demonology in visual propaganda, that is the
depiction of enemies, both internal and external. The representation of enemies
remained realtively consistent between 1917 and 1953, due to the continued use
of standard styles of satire and caricature. The writer argues that the
depiction of enemies helped to reinforce a Manichean world-view that divided
the world into two sides of good and evil.
Chapter
six examines posters produced between the years 1946 – 1953, which were
distinctively different from anything that had been previously produced,
despite incorporationg elements from earlier periods. The author argues that these
posters depicted a vision of the "divine order" of Soviet society, in
which abundance and harmoniousness were the essence of the new Stalinist
imperial order. Many of the traditional class markers and attributes of Soviet
citizens had disappeared and were replaced by a new image of Homo sovieticus.
The
author has made a significant contribution to the understanding of the posters
used during the creation of a new socialist society in the Soviet Union their
value as an extremely effective means of propaganda. In addition, this work
provides important insights into how the policies of a state in creating a new
political system can be carried out through a marriage of art and politics.
This book can be recommended for those interested in issues related to art and
politics and/or early Soviet history.
*Ayse Dietrich - Professor, Part-time, at Middle East Technical University, Department of History. Editor and the founder of the International Journal of Russian Studies e-mail: editor@ijors.net, dayse@metu.edu.tr, dietrichayse@yahoo.com
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