Throughout the Russian revolution, commonly nicknamed as the Red Revolution, artists documented and captured the radical events happening around them more accurately then any official records could. The world saw Russia abolish its monarchy and adopt a socialist form of government following two successive revolutions and a vicious civil war. It is no surprise that the transformative events of 1917, beginning with the popular overthrow of Nicholas II in February, inspired revolutionary art and jarring propaganda.
Beat The Whites With The Red Wedge, by El Lissitzky, 1920
El Lissitzky’s Soviet propaganda poster shows a large red wedge breaking a white circle and the adjacent geometric figures, symbolising the Bolshevik’s victory over the White Movement, which was led by those opposing the Soviets during the following Civil War.
Fascinated by the power of geometry and the messages it could deliver, Lissitzky was an expert on Constructivism. Rejecting old traditions, he embraced Constructionist principles that allowed for the mass production of art and an analysis of the world around him; he was the perfect artist for the Soviet era. Throughout his life, Lissitzky focused on bringing his art to the wider public while abiding by Lenin’s teaching. He was made a Russian Cultural ambassador to Weimar Germany in 1922, where he collaborated with and influenced other artists; El Lissitzky’s mark is clear in the Bauhaus and De Stijl art movements. In the Soviet Union, the artist created posters and art to inspire and give hope to the Soviet masses, helping the war effort tremendously when World War II tore through the country.
Lenin On The Tribune, by Aleksandr Gerasimov, 1930
Lenin On The Tribune glorifies the leader of the Russian Revolution in a similar way to Jacques Louis David’s paintings commemorating Napoleon, but it is often seen as more of a historical painting than a propaganda piece.
Gerasimov painted in the style of Socialist Realism, but his use of bright colours and dramatic compositions set him apart from the more conservative approaches of his peers. He was also one of the rare painters of his time that dared to paint such politically laden tales, as others feared the wrath of the authorities. However, Gerasimov’s risks payed off, his work pleasing the government and surprising the public, until he quickly became Stalin’s favourite painter.
The Defence Of Petrograd, by Alexandr Deyneka, 1928
‘The Defence of Petrograd’ tells the story of the endless cycle of violence during a revolutionary period. Deyneka addresses the bloody price of war in this artwork, showing hardship and the cost of change rather than hope and joyous propaganda. The painting interprets the event of the Civil War of 1919, during which the Red Army fought against the White troops – opponents of the Soviet Regime. It shows two lines of soldiers marching in opposite directions, but never meeting. The first row (on the bottom half of the painting) shows the vigorous newly recruited volunteers, while the second row (on the upper half) shows the wounded returning from the front. The broken men limp back, only to be replaced by others that will take their place, unaware of the horrors that they will face. A cyclic panel in the style of Soviet Realism, The Defence of Petrograd is covered in grey tones and draws attention to the miseries of war.