"Windows" was conceived at first as enlarged pages of a satirical magazine, hung out in the windows of empty shops. It was Mayakovsky who gradually developed the type of propaganda-oriented "Window", where all the drawings are subject to one theme, consistently revealed in the poetic text.
The exact number of "Windows" created by the poet is not taken into account - the work of text writers and ROSTA artists was anonymous. In total, about 1500 posters were produced (from October 1919 to February 1922). It is believed that Mayakovsky wrote about 80% of the tests and drew about 400 posters.
Together with Mayakovsky, Mikhail Cheremnykh, Ivan Malyutin, Amshey Nurenberg, Kazimir Malevich, Aristarkh Lentulov, Ilya Mashkov, Kukryniksy and others worked on "Windows".
“My work at ROSTA began like this: I saw the first two-meter-high poster on the corner of Kuznetsky and Petrovka, where Mosselprom is now. Immediately turned to the head of the ROSTOY, comrade. Kerzhentsev, who introduced me to M. M. Cheremnykh, one of the best workers this case.
At first, Comrade worked on the text. Gramen, then almost all the topics and texts are mine; O. Brik, R. Wright, Volpin also worked on the text...
I remember there were no holidays. They worked in a huge, unheated, freezing cold (later - a potbelly stove that eats away the eyes with smoke) ROSTA workshop.
Arriving home, he drew again, and in case of special urgency, he put a log under his head instead of a pillow under his head, with the expectation that you would not particularly fall asleep on the log and, having slept exactly as much as necessary, you would jump up to work again ...
Machine speed was required of us: it used to be that telegraph news of a front-line victory in 40 minutes - an hour was already hanging along the street like a colorful poster.
“Colorful” - it was said too chic, there were almost no colors, they took any, slightly stirring it on saliva. The nature of the work required this pace, this speed, and the number of new fighters depended on this speed in posting news of danger or victory ...
Without telegraph, machine-gun speed - this work could not be. But we did it not only with the full force and seriousness of our skills, but also revolutionized the taste, raised the qualifications of poster art, the art of agitation.
V.V. Mayakovsky
“These are the ancestors of all Soviet satirical magazines, the ancestors of the most difficult, paperless, machineless, manual time” V. V. Mayakovsky
Clear, concise, informative, persuasive! Perhaps this is how agitation for the implementation of propaganda Soviet posters would sound.
Who is not familiar with loud Soviet slogans such as: “The motherland is calling!”, “Working semester is excellent!”, “Collective farmer, be an athlete!”, “Have you signed up to volunteer?” and many other phrases aimed at promoting patriotism and human values were of great importance in wartime for clarifying affairs at the front. 
Soviet posters always contained not only powerful messages to the people, but were also illustrated with simple, intelligible, often satirical images, which, over time, made them a separate genre of the Soviet visual arts.
At times civil wars We had a separate form of propaganda poster art called " Windows of satire ROSTA". These series of memorable posters, created by Soviet poets and artists, will forever remain in the history of Soviet art as an exceptional original phenomenon.
Windows to events
“This is a record of the largest three years of revolutionary struggle, conveyed by spots of colors and the ringing of slogans.” V. V. Mayakovsky
Windows of satire ROSTA were posters that included several sketched plots and poems. The action developed sequentially from drawing to drawing and, with the help of biting, sharp verses, was compiled into a story.
The purpose of all the work on the posters was to report important events on the military front. It was extremely important to convey the necessary information as intelligibly and quickly as possible. Therefore, the drawings were simple, and the phrases short and memorable.
Illustrations, to simplify the picture, were made mainly in three colors, which were considered symbolic. Heroes were depicted in red, enemies in black, and the rest of the space in white. Thus, similar ones are understandable, but informative messages were understandable even to an illiterate people.
These are telegraphic news, instantly transferred to a poster, these are decrees, immediately published in ditties, this new form, bred directly by life, these are the posters that the Red Army soldiers, going on the attack, were watching before the battle, going not with prayer, but with the chant of ditties "V. V. Mayakovsky Master artists working on creation windows of satire ROSTA, repelled from traditional types of folk art, including popular prints. It is important to note that the first posters were drawn by hand, then made using stencils, which made them independent of the printing house and gave them some freedom of action.
Lubok- a kind of folk art, which is characterized by intelligibility and capacity of the image.Thus, the poster, which includes capacious poems, becomes not only separate view fine arts, but also a powerful mechanism for the formation public opinion, thus proving that the sphere of influence of the fine arts can extend to political and military events.
The brainchild of the Russian Telegraph Agency
History of appearance windows of satire ROSTA goes back to the start of the Civil War. On September 7, 1918, the Presidium of the All-Russian Central Executive Committee decided to create the Russian Telegraph Agency (ROSTA), which was to become the main information apparatus of the Soviet government.
The Russian Telegraph Agency is rapidly becoming a major institution, publishing a variety of bulletins, bulletins, leaflets, and so on. In general, ROSTA is a powerful central authority responsible for agitation, propaganda and timely coverage of various military news.
The natural necessity of ROSTA was the organization of a special unit, the purpose of which would be the fastest and most intelligible display of news to the people.
In the autumn of 1919 arose ROSTA satire windows. The first window in October 1919 was created by the artist Cheremnykh with the text Gramen.
“ROSTA windows are a fantastic thing. This is the service of a handful of artists by hand to a hundred and fifty million people "V. V. Mayakovsky 
Within a short time, more and more artists and poets came to the windows of satire, among them were V.V. Mayakovsky, D.S. Moor, I.A. Malyutin, A.M. Nurenberg, M.D. Volpin and other famous artists.
V. V. Mayakovsky took an active part in life windows of satire ROSTA, he not only wrote extremely capacious and relevant verses-signatures for posters, but he himself actively drew and developed their appearance.
Exhibitions "Windows of ROSTA"
Windows of satire ROSTA lasted until 1921 and, in terms of methods of work and the number of people, had incredible popularity and spread throughout the Soviet Union. Produced in the amount of 150 copies, they were exhibited everywhere, in all in public places, and brought their news to every Soviet citizen.
In 1930, an exhibition of V.V. Mayakovsky was held, entitled "20 Years of Work", in which, among other things, he exhibited well-known ROSTA satire windows.
At the end of the exhibition, Mayakovsky donated 300 photographs of windows to the Literary Museum of the All-Union Library. Lenin, which marked the beginning of the creation of the fund, which over a long period of time gathered about 1118 windows of satire ROSTA.
The collection of windows is kept in the State Literary Museum to this day, where everyone can see the original artistic evidence of the years of the Civil War.
ATTENTION! For any use of site materials, an active link to is required!
4. Russian Telegraph Agency in the 1920s. Mayakovsky's activities in the Windows of ROSTA
Russian Telegraph Agency (ROSTA) - the central information body of the Soviet state (RSFSR, from 1924 USSR) in 1918-1925.
The duties of ROSTA included the collection and dissemination of political, economic, cultural and other information in the country and abroad. ROSTA had branches, agents and correspondents throughout the country and abroad; entered into agreements with the state, societies. org-tions and individuals. The work of ROSTA was led by a council appointed by the All-Russian Central Executive Committee. In addition to disseminating information through telegraph channels, ROSTA printed its own publications in 1918-20: the newspaper AgitROSTA, the magazines Krasnaya Zvezda and Krasny Journalist, which were published once or twice a week, as well as large-circulation wall newspapers.
Another area of activity of ROSTA was visual agitation, which was mainly carried out through the distribution of satirical posters, the so-called "ROSTA Windows"). They were pasted up at stations, squares, in shop windows, in institutions, etc., and they were also supplied with propaganda trains and steamships. One of the authors of both poems and drawings of the Windows of GROWTH was V. V. Mayakovsky. On December 12, 1920, it was subordinated to the Glavpolitprosvet.
After the creation of the Telegraph Agency of the Soviet Union (TASS) in 1925, ROSTA functioned as the news agency of the RSFSR. In March 1935, it was liquidated, and its functions were transferred to TASS.
Windows of ROSTA, more precisely - "Windows of satire ROSTA" - posters created in 1919-1921 by Soviet artists and poets who worked in the system of the Russian Telegraph Agency (ROSTA). “Windows of ROSTA” is an original form of mass propaganda art that arose during the Civil War and military intervention of 1918-20. Satirical posters, made in a sharp and accessible manner, equipped with laconic poetic texts, exposed the opponents of the young Republic of Soviets. "Windows of ROSTA" were devoted to topical events, were illustrations for telegrams transmitted by the agency to newspapers.
In his work Terrible Laughter, Mayakovsky wrote about them this way: “This is a protocol record of the largest three years of revolutionary struggle, conveyed by spots of colors and the ringing of slogans. These are telegraph news instantly transferred to a poster, these are decrees immediately published in ditties, this is a new form, derived directly from life, these are the posters that the Red Army soldiers watched before the battle, going on the attack, going not with a prayer, but with a chant of ditties " .
With the exception of the first hand-drawn posters, posters were made and reproduced using a stencil to 150 or more copies, and then displayed in shop windows in the capital and other cities - usually in empty grocery stores.
The first "Windows of GROWTH" was performed in October 1919 by M.M. Cheremnykh. Then V.V. Mayakovsky joined him, creating bright, well-aimed drawings and signatures. Similar "windows" were also produced in Petrograd, Ukraine, Baku, Saratov and other cities. The topics of the posters were the fight against Wrangel and typhoid lice, starving people, etc.
“Their specificity was in the immediate reaction to the most topical questions and facts. The texts of the "Windows of GROWTH" were distinguished by the simplicity and accuracy of the characteristics coming from the traditions of folk popular prints and ditties. In these texts, Mayakovsky's talent as a publicist found its vivid expression. ROSTA posters, as a rule, have many plots. They developed and typified a certain spirit of characters passing from poster to poster: a worker, a Red Army soldier, a peasant, a capitalist, a priest, a kulak.
The young Vladimir Mayakovsky entered poetry under the banner of the Futurists. The Futurists entered poetry noisily, with calculated scandalousness. Mayakovsky persistently searches for new forms, new genres, new themes in revolutionary reality. For him, work on ROSTA propaganda posters becomes not only his form of participation in the revolutionary struggle, but also a laboratory in which he, in his own words, freed poetry “from poetic husks on topics not
allowing for verbosity."
Example: If the call of the party week
millions will come from factories and arable land -
the worker will quickly prove in practice
that the communists are not afraid of anyone.
Growth No. 5
"WINDOWS OF GROWTH" - daily propaganda posters, created in 1919-1921 by Soviet artists, ra-bo-tav-shi-mi in the system of the Russian-si-sko-go tele-count-no-go agent-st-va (ROSTA; now not ITAR-TASS).
Pla-ka-you, made by hand, with the help of tra-fa-re-tov (up to 200-300 copies), you-sta-la-lied in vit-ri-nah ma -ga-zi-nov, races-lo-women-nyh in crowded places (from-here-yes their name is “ok-on”), and turned into their own - different let-to-writing of the period of the Civil war of 1917-1922 and inter-ter-ven-tion, when “because of the ti-po-count- for once-ru-hi, we didn’t have-lo-gra-fi, red-juice, boo-ma-gi, sp-tsia-lists of whether-to-count-sko-go-de-la and etc.” (P.M. Ker-zhen-tsev). The first “Windows of Growth” appeared in Moscow in 1919, according to the ini-tsia-ti-ve hu-doge-ni-ka M.M. Che-rem-nyh and zhur-on-li-hundred N.K. Iva-no-va-Gra-me-na, ra-bo-tav-shih in ROSTA, headed by Ker-zhen-tsev. Soon V.V. Mayakovsky, I.A. Ma-lu-ting, D.S. Mo-or. Sna-cha-la "Windows of Growth" de-la-lis in the form of enlarged countries of the sa-ti-ric journal-na-la, consisting of not-how -of the most-m-hundred-yatel pro-of-ve-de-ny different genres. Mayakovsky played an essential role in the creation of posters, taking over the entire literary part and working just like a hu- doge nickname; he created a new type of “windows of sa-ti-ra”, sub-chi-nya com-po-zi-tion of one topic and a specific agitational task. Text and ri-sun-ki do-half-nya-whether to each other. Pla-ka-there, consisting, as it were, of 2-4-6, etc. shots, there was an inherent “te-le-graph style” with its clarity, squeeze something, la-ko-bottom-mom of expressive means, os-but-van-nyh mainly on you-ra-zi-tel-no-sti si-lu-etov and catchy ras-kras-ke in 2-3 colors, use-pol-zo-va-ni-em sim-vo-li-ki, tradition of Russian lub-ka and no-vator-sky me-something -dov Russian avant-gar-diz-ma. Pla-ka-you ras-sy-la-lissed in all places from de-le-niya ROSTA. In Peter-ro-gra-de "Windows of Growth" de la-li V.V. Le-be-dev, L.G. Bro-da-you, A.A. Ra-da-kov, V.I. Koz-lin-sky, in Ko-st-ro-me - N.N. Ku-preya-nov, in Sa-ma-re - S.Ya. Ad-li-van-kin, in Kursk - A.A. Day-no-ka, in Odessa - B.E. Efimov; "Windows of Growth" you-ho-dee-whether in Ba-ku, Sa-ra-to-ve and other cities. According to Maya-kov-sko-go, it would be “on-service-of-a-ho-dozh-ni-kov, manually, one hundred-five-ti-de-sya -ti-mil-li-he-but-go on-ro-di-sha. Pla-ka-you should-whether to inspire people with the idea-mi-re-in-lu-tion, show-y-vat car-ty-we light-lo-go boo -doo-shche-go (“Yes, hello-st-vu-et electric-tri-fi-ka-tion!”, “Pa-ha-li so-hoy - for-pa-shem truck-to-rum”) , fight for the world re-in-lu-tion and in-ter-na-tsio-nal co-whether the gift of labor -ga (“Here is the enemy of Soviet Russia. Fight with each smoke, don’t die yet”), pro-proclaim dik-ta- tu-ru pro-le-ta-ria-ta. Under-no-ma-lis the most evil-bo-day-day questions of co-time-men-no-sti: fight against the go-lo-house (“So that with the go-lo-house cope with it and with the times-ru-hoy-du-roy, vve-de-na sov-nar-ko-mom pre-miya on-tu-swarm"), all -general gram-mot-no-sti and new so-cia-li-stic culture, ra-ven-st-va male-chi-ny and female-shi-ny (“What de -la-la ra-bot-ni-tsa and that ra-bot-ni-tse on-to de-lat"), re-stand-new-le-niya of the national economy. The traditions of the "Windows of Growth" during the years of the Great Patriotic War continued "Ok-na TASS".
A photo. V.V. Mayakovsky (1893-1930).
The sonorous lines of his poems reflected time itself - formidable and heroic. Open any volume of poems by V.V. Mayakovsky and you will see the young Republic of Soviets blown by the wind of revolution in its big and small deeds.
Actually, there were no small and insignificant cases for V.V. Mayakovsky. A poet of the revolution, he burst into the thick of things - always active, irreconcilable, party-biased in his assessments. The country fought and built. Building tomorrow. But yesterday's world still clung to life, and in order to end it, not only heroic deeds were needed, but also inconspicuous, everyday, sometimes not entirely pleasant, work. Subsequently, V.V. Mayakovsky will speak about it, as always figuratively and succinctly, in his poem "Out loud" (1930):
"For you,
which
healthy and agile
poet
licked
consumptive spitting
rough language of the poster.
V.V. Mayakovsky, making rhymed captions for health education posters, was proud of his work, because he believed that his poetry brings real benefits to people.
1919 The hungry Republic, devastated by a long war, is squeezed by the ring of intervention. Moscow: dangling tram wires, deserted streets. And suddenly an unexpected crowd in front of the windows of an empty store. In the showcase "Windows of satire ROSTA" - multi-picture posters, which the Russian Telegraph Agency began to produce.
Sharp, easy-to-understand, satirical posters with brief, easy-to-remember poetic texts exposed the enemies of the young Soviet Republic, covered topical events, and illustrated telegrams transmitted by the agency to newspapers. The posters, with the exception of the first, drawn by hand, were made and reproduced with the help of a stencil up to 150 or more copies, then exhibited in shop windows in Moscow and other cities. In the Windows of Satire ROSTA, the traditions of lubok and raeshnik were widely used. The drawings of the “ROSTA Window” (in series up to 12 on one sheet) were distinguished by their underlined simplicity and laconism of visual means (expressiveness of silhouettes, coloring in 2-3 colors). These original satirical and political magazines were made by a small team, the soul of which was V.V. Mayakovsky.
The first "ROSTA Window" was performed in October 1919 by M.M. Cheremnykh. Then V.V. Mayakovsky, I.A. Malyutin, D.S. Moor and others. Kazimir Malevich, Aristarkh Lentulov, Ilya Mashkov and the Kukryniksy also participated in the creation of the ROSTA Windows.
A photo. ROSTA artists. 1919 Vladimir Mayakovsky, Ivan Malyutin, Mikhail Cheremnykh.
"Windows of ROSTA" played a significant role in the development of Soviet fine arts.
Similar "Windows" were also produced in Petrograd (L.G. Brodaty, V.V. Lebedev, A.A. Radakov and others), in Ukraine (B.E. Efimov and others), in Baku, Saratov and others cities.
Rice. "Windows of satire ROSTA".
Rice. Artist A.M. Nurenberg “V.V. Mayakovsky at work in ROSTA.
On "Windows of Satire" Mayakovsky the poet and Mayakovsky the artist worked together, reflecting topical political, economic, sanitary-hygienic and military tasks in poems and drawings. In the article “I ask for words,” written ten years after the creation of the first “Windows”, Mayakovsky recalled how a handful of artists “served a hundred and fifty million people” by hand: “The range of topics is huge. Agitation for the Comintern and mushroom picking for the starving, the fight against Wrangel and typhoid lice ... ". Many posters created by V.V. Mayakovsky, was dictated by concern for public health and were vivid examples of sanitary and educational agitation.
V.V. Mayakovsky considered his work in the ROSTA Windows of Satire to be political, he vividly responded to the first decrees of the Soviet government regarding health issues:
The main anti-epidemic measures are visible on the poster - in the lower third of the picture, a man is generously poured with water from a bucket, two more people are busy washing clothes, and a sanitary doctor is in the background.
- "On the supply of bacteriological institutes and laboratories with materials and equipment necessary for their work" (April 10, 1919);
- "On the fight against typhus on the Eastern and Turkestan fronts" (November 5, 1919);
- "On providing the Red Army and the civilian population with soap" (December 30, 1919);
- "On providing the population of the Republic with baths" (September 30, 1920) and many others.
Rice. "Window of satire ROSTA".
Rice. "Window of satire ROSTA".
The poster depicts the consequences of smallpox - blindness and scarring of the skin of the face, which could have been avoided with the help of smallpox vaccination.
Mayakovsky draws a "Window" called "The New Enemy":
"But vigilantly, comrade,
watch out for trouble
again at the gate she stood:
typhus, hunger and cold - dashing enemies -
here are the new three generals.
Rice. "Window of satire ROSTA".
Rice. "Window of satire ROSTA".
In March-April 1920, the Week of Sanitary Cleaning was held in Moscow. The poet responded to this event with a poster that called for the fight against dirt and devastation.
The next "agitation" is for the May Day holiday:
"Stop, citizen,
GROWTH attention!
What need to do
First of May?".
Of course, to visit the bathhouse, “until I fell ill with a typhoid infection,” and then “celebrate May in such a way that even a speck is not dirty.”
What only did not tell "Windows"! Here they warn about the dangers of drinking raw water, here they offer advice on how to protect themselves from cholera, here is their powerful fire of satire V.V. Mayakovsky brings down the "green serpent" on the fans. Extremely expressive and concise texts are quickly remembered, passed from mouth to mouth.
Rice. "Window of satire ROSTA".
Propaganda of decrees and resolutions of the Council of People's Commissars, the Council of Labor and Defense becomes the main task of the team of agitators led by V.V. Mayakovsky. Decrees and other important documents Soviet power required detailed explanations. They demanded not only an increase in the verbal and figurative base of the poster, but also a change in the environment for their perception.
V.V. Mayakovsky leaves the telegraph agency for Glavpolitprosvet. "Windows of the Glavpolitprosveta" were made by the same team as the "Windows of Satire ROSTA". V.V. Mayakovsky determined the theme of posters, selected factual material, wrote texts based on it and often made drawings for them, gave assignments to artists, and accepted completed posters from them. He also dealt with the issues of their replication and distribution both in Moscow and in the periphery.
With the departure from ROSTA, not only the workshop changed. Mayakovsky turned out to be “torn out” from the unique atmosphere of creative enthusiasm. There, Mayakovsky was in the thick of life, aware of all the most important events that took place both in the country and abroad, and the very first recipient of all this news. Such advantages were already given by the very specifics of the telegraph agency.
At Glavpolitprosvet, Mayakovsky had to some extent reorganize and set up a local network for the reproduction and distribution of Okon. And this, of course, could not but create its own additional difficulties.
The theme of “Windows” finally changed, which was outlined in ROSTA shortly after the end of the civil war. At the end of 1920 and beginning of 1921, the main theme was the struggle for restoration National economy, destroyed during the imperialist and civil wars. In dozens of "Windows", based on concrete factual material, the labor successes of advanced teams were shown, calls were made to develop competition, strengthen labor discipline, create shock groups of exemplary work, and show creative initiative.
"Windows of Glavpolitprosveta" parted with shop windows and settled in propaganda centers, clubs, red corners of plants and factories, Red Army barracks and institutions, in rural reading rooms. These multi-frame, 12-16 drawings, posters were designed, as a rule, for a long existence and were close in this respect to printed propaganda posters.
At the same time, these "Windows" continued to retain their great propaganda value. And here the contribution of V.V. Mayakovsky and his comrades in helping the starving in the Volga region. This theme becomes the main one, starting from July 1921 until the termination of work on the release of "Windows". Special attention to help starving children. "Windows" urged the citizens of the "productive" provinces to take on the upbringing of the starving and sick children of the Volga region. The Windows of the Glavpolitprosveta were also used for information about the measures taken by the Soviet government, the progressive forces of the world to help the starving.
Poster master, V.V. Mayakovsky, of course, could not ignore the problems in the life of society; the genre of his art, by its nature, was intended to reveal the negative phenomena of social life, to give them a fair assessment, to criticize.
At the same time, the social and cultural achievements could not but be reflected in the "Windows".
In December 1921 - January 1922 V.V. Mayakovsky busy with others creative plans(including work on printed propaganda posters for Glavpolitprosveta) pays less and less attention to Okna. Their number is sharply reduced. It becomes more difficult to replicate them; multi-frame propaganda posters with extensive text complicated the work of stencilers and type designers.
From the beginning of 1922, the windows of the "Windows of the Main Political Education" ceased to be a political platform.
"Mobilized and called by the revolution", the poet worked for the future, walking "every minute in step" with the whole country. V.V. Mayakovsky was, is and remains a contemporary of many, many generations.
Only lovers will survive
Features of advertising aimed at children
retouching old photos in photoshop retouching old photos
What is an NPO: decoding, definition of goals, types of activities Does a non-profit organization have the right
Gleb Nikitin First Deputy