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Another example of Constructivist talent Rodchenko’s 1923 design for the Rubber being applied to advertise soviet goods was Trust advertisement (fig. 2.2) which within for State Tobacco Ads (fig. 2.1), where the its poster includes the text ‘Rubber trust, bright and bold coloured advertisements the defender in rain and slush. Without used familiar fonts and symbols, seen in galoshes, [people in] Europe sit inside and other advertisements as well as propaganda cry’, which along with storytelling imagery, posters. This demonstrates that all posters communicates the advantages of Galoshes throughout the 1920s stemmed from the being a waterproof shoe and the fact that new society, as the objective behind all they were only sold in Russia acts as a advertisements was to encourage the public disadvantage for the rest of the world. This is to invest in the state. The compromise with exemplified by the use of shape and colour; capitalism meant that some condemned diagonal lines illustrate rain falling onto advertising as an action that supported it, the globe, however using the revolutionary however because the products advertised red colour, Russia appears to be protected were state-owned rather than from a by the shoe. The simplistic flat forms used brand like we see nowadays, it contributed to articulate this message imitates the to the rebuilding of the economy. This Suprematist visual language that was suggests that actions within everyday applied within graphic design during the life, such as consumption, furthered the Constructivism movement. However, having ethos of the new society and advertising the intention to assist in constructing a new these products aided in overcoming society reflects Constructivist principles. private enterprise; rebuilding them within The poster was not created to simply be socialist ideals. The Constructivist style that looked at, it intends to inspire an active developed within advertising also meant response – in this case purchasing the shoe that it became a challenge to distinguish – that benefits the state and therefore the between the agitational and advertising Soviet regime. This is emphasized by the notices, because eventually they became display of the Soviet revolution-red that so intertwined that they both served the covers Russia on the world map, serving same purpose of furthering the revolution. as a reminder for the public to show This is also demonstrated in Alexander their support to the revolutionary cause. 52
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Overall, this essay has examined the relationship between art and politics during the years of 1910- 1930, specifically how Constructivism became the art movement of the Russian Revolution. Initially, studying the pre-revolutionary culture led to an analysis of how the work of famous artist such as Vladimir Tatlin and Kazimir Malevich laid the foundations for the development of Constructivism. Through their art, these revolutionary artists, along with Vladimir Mayakovsky and Alexander Rodchenko, borrowed concepts from Futurism, Cubism and Suprematism and while applying the Constructivist belief that to fully carry out their duty to serve the new society, art must transition from the artist’s studio to the factory, they began to design utilitarian products that could be mass produced. This direct link to politics is demonstrated in chapter one through the analysis of Vladimir Tatlin’s design for the Monument to the First International. The intent for this design to be the Communist International Headquarters is one of the many examples presented where artists used their role as a constructor to create a utilitarian design that can be applied to everyday life, while simultaneously supporting the revolutionary cause. 55
Throughout this dissertation, there have been Constructivist’s aim to take art out of museums multiple examples showcasing that not only and apply it to everyday life to push social did art influence politics during this time but change and enrich lives, was instigated and also vice versa. One of the more obvious cases influenced by the political unrest during the of art driving political conditions in Russia is Russian Revolution. However, art was also used Mayakovsky’s work with ROSTA posters, that to guide the communist movement, allowing educated the Russian population using pictorial it to continue for many years following designs that briefly describe events such as the the initial October Revolution. Through October Revolution and the Civil War in an Constructivist’s work in theatre and graphic approach that paints the Bolsheviks in a noble design, their industrial work in textiles and light, encouraging support. Another key point the production of household objects, flashes of that should be highlighted within this essay is Soviet propaganda were consistent throughout the effect that the New Economic Policy had daily life, fully immersing the public in Soviet on advertising in the 1920s, which led to artists politics through the use of art, proving that taking on the role of advertising not for brands within the years of 1917-1930 Constructivist but for the state, trying to sell the revolutionary art and Russian politics were intrinsically cause in a way that made the Russian public intertwined, perpetuating and reinforcing each want to invest in it. To summarise, the other from within their respective spheres. 56
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