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MICHEL MIKHAÏLOVITCH SOLOVIEV (1905 -1990)
The item was sold for 364 €
Fees include commission and taxes.
MICHEL MIKHAÏLOVITCH SOLOVIEV (1905 -1990)
The party is always with you
Tempéra on panel
140 x 90 cm
Work made for Lenin's centenary in 1975.
The propaganda cupboard is a pictorial genre in its own right and holds a place of honour in Soviet art from the 1930s until the fall of the Berlin Wall.
Symbolic images with simple forms and bright colours, the posters are made to awaken consciences in the face of the gentrification of souls. Some of these posters have become true icons of the communist utopia, where the futuristic lines of the avant-garde are intertwined with the archetypes of a
Russia that cannot deny itself.
The artistic sources of this genre draw from the creations of Malevich, Rodchenko and Lebedev. Far from being reduced to the orthodoxy of socialist realism, these artists knew how to use the forms of their time in the service of an authentic messianism that mixes conquering internationalism, the glorification of force and victory over fascism and capital.
Towards the 1970s a new irenic inspiration came to enrich the classical themes of Marxist ideology. The artists devoted part of their works to anti-militarism, ecology and the ideal of a harmonious world that echoes the great concerns of post-modern humanism. From a simple ideological instrument, the poster becomes the image of a world in the making. The most beautiful of them are today kept in the
Tretyakov Gallery or the Tate museum.
The party is always with you
Tempéra on panel
140 x 90 cm
Work made for Lenin's centenary in 1975.
The propaganda cupboard is a pictorial genre in its own right and holds a place of honour in Soviet art from the 1930s until the fall of the Berlin Wall.
Symbolic images with simple forms and bright colours, the posters are made to awaken consciences in the face of the gentrification of souls. Some of these posters have become true icons of the communist utopia, where the futuristic lines of the avant-garde are intertwined with the archetypes of a
Russia that cannot deny itself.
The artistic sources of this genre draw from the creations of Malevich, Rodchenko and Lebedev. Far from being reduced to the orthodoxy of socialist realism, these artists knew how to use the forms of their time in the service of an authentic messianism that mixes conquering internationalism, the glorification of force and victory over fascism and capital.
Towards the 1970s a new irenic inspiration came to enrich the classical themes of Marxist ideology. The artists devoted part of their works to anti-militarism, ecology and the ideal of a harmonious world that echoes the great concerns of post-modern humanism. From a simple ideological instrument, the poster becomes the image of a world in the making. The most beautiful of them are today kept in the
Tretyakov Gallery or the Tate museum.