The poet is one of the participants in the windows of growth. The ABC of Soviet Advertising: Vladimir Mayakovsky's propaganda posters. See what "windows of growth" are in other dictionaries

  • 06.04.2020

“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.

During the Civil War, there was 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 beginning 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.

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Most people remember Vladimir Mayakovsky - as a loud-voiced poet, whose poems must be read in full voice. His rhymes are rough, cut, juicy and concrete.

A lot has been said about Mayakovsky's life itself. Recently, especially in biographical magazines, more and more details about his relationship with Lilya Brik appear, love for which dominated the poet for many years, until his unexpected death.

Known are the features of Mayakovsky's behavior. So, they say that the poet always carried a bar of soap in his jacket pocket and preferred not to shake hands with anyone. If this happened, he tried to wash his hands as quickly as possible, fearing infections: his father died of blood poisoning, and this left a huge imprint on Mayakovsky's life.


You can recall his participation in rallies. Crowds of people went to listen to Mayakovsky the agitator... Quite a few lines have been written about Mayakovsky in America.

Vladimir Mayakovsky is a multifaceted figure. He is a man - a rock, although, as it turned out, with a tender, vulnerable heart.

In this article we want to remember him not as a poet, but as an illustrator.

In September 1918, a government decree was adopted "on the merger of the Petrograd Telegraph Agency and the Press Bureau under the All-Russian Central Executive Committee." The new formation was called the Russian Telegraph Agency (ROSTA) under the All-Russian Central Executive Committee. And already in March 1919, Mayakovsky began his collaboration with him, acting as the author and artist of the satirical “Windows of GROWTH”.

We present to your attention the most interesting of them.



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ROSTA windows ("Okna ROSTA")

more precisely - "Windows of satire ROSTA", posters created in 1919-21 by Soviet artists and poets who worked in the system of the Russian Telegraph Agency (See Russian Telegraph Agency) (ROSTA). "O. R." - an original form of propaganda and mass art that arose during the Civil War and military intervention of 1918-20. Sharp, intelligible satirical posters with brief, easily remembered poetic texts exposed the enemies of the young Soviet Republic, covered topical events, and illustrated telegrams transmitted by the agency to newspapers. Posters, with the exception of the first hand-drawn ones, were made and reproduced using a stencil up to 150 or more copies, then exhibited in shop windows in Moscow and other cities. In "O. R." the traditions of lubok and raeshnik were widely used, etc. Drawings "O. R." (in series up to 12 on one sheet) were distinguished by their emphasized simplicity and conciseness of visual means (expressiveness of silhouettes, coloring in 2-3 colors). The first "Oh. R." performed in October 1919 by M. M. Cheremnykh. Then he was joined by V. V. Mayakovsky, who created bright, well-aimed drawings and signatures, as well as I. A. Malyutin, D. S. Moor and others. Similar “windows” were also produced in Petrograd (L. G. Brodaty, V V. Lebedev, A. A. Radakov, and others), in the Ukraine (B. E. Efimov, and others), in Baku, Saratov, and other cities. "O. R." played a significant role in the development of Soviet fine arts.

Lit.: Polonsky V., Russian revolutionary poster, [M.], 1925; Lebedev P.I., Soviet art during the period of foreign military intervention and civil war, M.-L., 1949; Butnik-Siversky B., Soviet poster of the Civil War era. 1918-1921, M., 1960.


Great Soviet Encyclopedia. - M.: Soviet Encyclopedia. 1969-1978 .

See what "ROSTA Windows" is in other dictionaries:

    - "Windows of satire ROSTA" a series of posters created in 1919 1921 by Soviet poets and artists who worked in the system of the Russian Telegraph Agency (ROSTA). “Windows of GROWTH” is a specific form of mass propaganda art that arose during the period ... Wikipedia

    Windows of satire ROSTA, posters created in 1919 by 21 Soviet artists and poets who worked in the system of the Russian Telegraph Agency (ROSTA). Sharp, intelligible satirical posters with a brief poetic text exposed ... ... Art Encyclopedia

    - (Windows of satire ROSTA) posters multiplied using a stencil; were created by artists and poets (M. M. Cheremnykh, D. S. Moor, V. V. Mayakovsky) in the ROSTA system in 1919 21. Sharply satirical posters of ROSTA windows dedicated to topical ... ... Big Encyclopedic Dictionary

    - "WINDOWS OF GROWTH" ("Windows of satire ROSTA"), posters reproduced using a stencil; were created by artists and poets (M. M. Cheremnykh (see. Cheremnykh Mikhail Mikhailovich), D. S. Moor (see. MOOR Dmitry Stakhievich), V. V. Mayakovsky (see. MAYAKOVSKY ... ... encyclopedic Dictionary

    ROSTA windows. M. M. Cheremnykh. You have to be ready (text by V. V. Mayakovsky). 1920. “Windows of ROSTA”, “Windows of satire ROSTA”, posters created in 191921 by Soviet artists and poets who worked in the Russian telegraph system ... ... Art Encyclopedia

    - ("Windows of satire ROSTA"), posters, multiplied using a stencil; were created by artists and poets (M. M. Cheremnykh, D. S. Moor, V. V. Mayakovsky) in the ROSTA system in 1919 21. Sharply satirical posters “ROSTA Windows”, dedicated to topical ... ... encyclopedic Dictionary

    "Windows of Growth"- WINDOWS OF GROWTH, Windows of satire ROSTA posters created by artists and poets (1919 21) in the Ros system. telegraph agency. satirical posters with short poems. were sacred. topical events of our time (events of the civil war, the fight against ... ... Russian humanitarian encyclopedic dictionary

    - "Windows of satire ROSTA", propaganda posters produced by a group of Moscow artists and poets in 191922 under the leadership of the Russian Telegraph Agency (ROSTA), then the Main Political Education Department under the People's Commissariat of Education of the RSFSR. Initially exhibited... Moscow (encyclopedia)

    - "Windows of satire ROSTA" a series of posters created in 1919 1921 by Soviet poets and artists who worked in the system of the Russian Telegraph Agency (ROSTA). “Windows of GROWTH” is a specific form of mass propaganda art that arose during the period ... Wikipedia

Books

  • `Window` Growth, V. Mayakovsky. Vladimir Mayakovsky. Complete works in thirteen volumes., Volume three. `Window` GROWTH 1919-1922, Preparation of the text and notes by V. D. Duvakin, GIHL, M., 1957, OCR BychkovM. N.…

A century ago in Western Europe and the United States, advertising developed at a rapid pace, while in the USSR it was just in its infancy. One of the first and most famous "copywriters" of the 1920s was Vladimir Mayakovsky- the author of not only wonderful poems and plays, but also brilliant advertising posters . His works have become classics of Soviet advertising art and a significant milestone in the history of 20th century posters.


In the USSR, there was no urgent economic need for advertising - a monopoly state enterprises for the production of goods did not involve competition. Soviet advertising differed significantly from the Western one - its main task was agitation and propaganda. It was necessary to convince everyone that Soviet goods were the best. And there are no others for this very reason - why else something when there is the best?




V. Mayakovsky was the author of political, commercial and social advertising. In 1919-1921, during the years of the Civil War and military intervention, he worked at the ROSTA Windows of Satire, the poster department of the Russian Telegraph Agency. The main task of satirical posters was to ridicule and destroy the enemies of the young republic and to support " Soviet power plus the electrification of the whole country.” The first posters were created by hand, then - with the help of stencils.


Since 1923, in collaboration with the avant-garde artist A. Rodchenko, Mayakovsky began to work on commercial advertising. The creative alliance "Advertising Designer Mayakovsky-Rodchenko" creates advertisements for GUM, Rezinotrest, Mosselprom, State Publishing House, Tea Department. The texts of the advertising posters were as concise and catchy as possible, easy to remember and extremely simple – and what else is needed for effective advertising?






The slogan "Nowhere but in Mosselprom" has become a classic, which has entered the national circulation. The author replied to all claims: “Despite the poetic hooting, I consider “Nowhere but in Mosselprom” poetry of the highest qualification.” And if questions arise about the aesthetic value of such poems, then their marketing effectiveness cannot be doubted.


V. Mayakovsky was well aware of the economic necessity of advertising, back in 1923 he wrote: “Usually they think that only rubbish should be advertised - a good thing and so it goes. This is the most wrong opinion. Advertising is the name of the thing. As a good artist creates a name for himself, so he creates a name and a thing for himself. Advertising should endlessly remind of every, even wonderful thing.

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