ࡱ> `Root Entry5?5.?5ߔ5??@$# Fpw8))1TableL1100d00/,/.@.-x,++@+8+t*H8$8266@65AAlALA@X??><;l=bc'SS$WordDocument4rqqhq0qqp,po`onnxnm(m$l?@ABCDEFGIJKLMNOXQRSTUVWYZ[\]^_dcmyz|Root Entry5?5.?5ߔ5??@$# Fp-Ze8))1TableL1100d00/,/.@.-x,++@+8+t*H8$8266@65AAlALA@X??><;l=n%SS$WordDocument4rqqhq0qqp,po`onnxnm(m$l?@ABCDEFGIJKLMNOXQRSTUVWYZ[\]^_dfgijklopqrstuvwx{}~DocumentSummaryInformationAA\8665x4d`baxbT`_]|^x[[CompObjhOhTJIRl#8k)" 8!!!L"`'(l'''(X@$ObjectPoolcA$A$Ae%B_ B%H7v%mBB&00T0T=`D?x0TableMCA7y FHnMO8?ZwH0u2Oݿs<<Ҝ%=[ (dCoM%Ph [4@4NormalCJOJPJQJmH <A@<Default Paragraph FontJJ!!! JJ!qc z{Z[""$v'w',,.x/y/113646778899C=>??FF2J3JIJLJ!6!6!6!6!6!6 !6!6!6 !6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6! Much has already been written about the pioneers of Soviet political poster design and their names are now prominent in the history of Soviet art. They include D. Moor, M. Cheremnykh, V. Deni, A. Apsit, N. Kogout, N. Kochergin, A. Radakov and the ROSTA Window designers in Moscow and Petrograd. I want the posters to resound as clearly as an orators speech, said Moor, expressing his creative aspirations. Indeed, very few speeches were marked by the vividness and brightness, that characterized Moors posters. The poster Have you volunteered for the Red Army?, depicting a Red Army soldier, could not fail to galvanize its audience. The posters by Deni exposing the Triple Entente and bourgeois capitalists were particularly striking. A stark choice is expressed in his poster: Crush Capitalism of be crushed by it. A handful of artists serving the entire nation was the way the poet Mayakovsky referred to the major contributions of the ROSTA Window designers. They are the minutes of the most difficult three-year period of the revolutionary struggle, a record in colours and words. Large print runs of these posters were at times insufficient to meet demand. They were reproduced as postcards, printed as leaflets and in magazines. Many posters even contained the caution, Anybody who tears down or covers this poster is committing a counter-revolutionary act. The following documents, critical assessments and press cuttings, reveal the political importance of poster design. Working relentlessly for the Military Department since the beginning of 1919, Comrade Moor has rendered an immense service to the Red Army with his bold poster designs. The ranks of the Red Army cherish his revolutionary poster which raised their morale and illuminated the way forwards. During the past three years Comrade Moor has designed 150 canvases and posters for the Red Army. The Military Revolutionary Committee of the Republic, noting Comrade Moors services to the Revolution, honours him for the heroic battle he has waged with his own particular weapons the brush and pencil. Deni tirelessly meted out precise and powerful blows against our enemies. To make an enemy look ridiculous, is to half kill him. To tear the mask of grandeur from his face, to expose his true nature is a tremendous challenge, which only artists like Deni can meet Without wholly identifying with the Revolution, the artist will inevitably fail to find the right style and the true colours for his revolutionary cartoons. Victory at the front would have been impossible without the propaganda efforts that inspired the nations in the home front. Denis poster, Each blow with the sledge-hammer is a blow against the enemy, is a good example of this. The posters portraying the vanguard of the Party inspired people with enthusiasm for community work. The background of red banners symbolized the Revolution and the mood was in harmony with the images of popular songs: We are all blacksmiths, and feel young and energetic and Let our locomotive drive us onwards and upwards. In addition, the poster by Kogout with the caption: We destroyed the enemy with its weapons and well earn our bread with labour Comrades, roll up your sleeves for work (1920), is the first in the series dedicated to the feats of labour. The poster was probably the first art form to develop the picture of Lenin as the leader of the Soviet State. A modest poster of Lenin was printed by the All-Russian Executive Committees Publishing House (1919) and was followed by a series of posters by Cheremnykh, Deni (Comrade Lenin cleanses the land with a sketch by Cheremnykh) and a poster, Progress report by Lenin, Chairman of the Council of Peoples Commissars (1922), in which Cheremnykh presents a graphic picture on the report delivered by Lenin to the Ninth Congress of the Soviets. Later on, in the thirties, in common with other art forms, the poster presented a panoramic view of Soviet Life, conveying the optimistic sprit of the first Five-Year Plan. The most importand function of the poster at this time was to stress the political importance of the economic plans and to record the achievements of individual enterprises. Posters where designed to encourage socialist emulation and to tackle topical subjects. Many of the fines Soviet artists turned to poster design during this period. Deinekas posters convey with extraordinary power the enthusiasm of those who were building the new society. For example: Work, build and no complaining! (1933) and Lets mechanize the Donbass! (1930) another example of Deinekas posters that inspired technological advance. The main features of poster design and layout in the thirties were pictures of plants, blast furnaces, power stations, construction sites and drawings of people at work. Artistic imagery and factual content were two important elements in these posters: the impact of one reinforcing that of the other. This helps to explain the popularity of photomontage posters. G. Klutsis created a poster-panel which had a distinctive flavour of its own. It combined the accuracy of documentary photography with the compelling power of graphic art. The artistic importance of such design is exemplified by his famous poster, Fulfil the great Plans! (1930). In response to his appeal the poster depicts a multitude of raised arms above which a single arm of the working people is stretched. Klusis posters are closely linked with the most vital issues of Party policy: Lets storm the production target! (1930) for example, or The USSR is the shock battalion of the world proletariat (1931). Against a background of blast furnaces, mines and vast collective farms, the steel worker, miner, collective farmer and builder of socialism are caught by the camera and become an integral part of the posters design. In addition to Deineka and Klutsis, other poster designers of this period includen in the Lenin Library collection are N. Dolgorukov, V. Govorkov, A. Kokorekin, V. Suryaninov and V. Ivanov. It was also at this time that posters by V. Korablyova and M. Voron made their first appearance; the concentrating of the development of collective farming and the latter on harvesting. While these newcomers were establishing themselves, the most talented masters of Soviet pictorial satire V. Deni, the Kukryniksy Group, B. Prorokov and A. Kanevsky were using their art as a weapon in the struggle against the external and internal enemies of the Soviet Union. In particular, the anti-fascist poster occupies a special place in the history of Soviet art of the thirties. During this period certain reactionary international organizations allied themselves with fascism. The poster was used as a means of exposing this imperialist intrigue, calling upon the people to be ever vigilant, warning them about the dangers of war and revealing to them the inhuman nature of fascism. These posters, sharp and graphic in style, all shared a common theme: an impassioned denunciation of fascism and a concern for the future of humanity. From the beginning of World War II, the poster entered into the battle against Nazism. It was visible in the streets and squares of every city and small town , as well as at the front. It called upon people to be staunch and brave, inspiring them with the confidence they needed for victory. The poster brought home to people the scale of Nazi atrocities. In the name of women and children and the elderly, the poster pleaded with soldiers: Save our lives! Liberate us! Protect us! It mocked Hitlerism and glorified the Red Army. The poster was once again at the forefront of political life, as it had been just after the Revolution. Satirical pamphlets of Boyevoi Karandash (Pencil at War) were regularly printed in Leningrad, whilst TASS Windows a poster studio continuing the traditions of the ROSTA Windows sprang up in Moscow. Stenciled posters were also issued in a number if cities. One of the most significant poster studios was in Uzbekistan. Here, together with artists from Moscow and Leningrad, poster designers, including pupils of Moor, took an active part in its work. They published stenciled posters for Agitation Windows in Tashkent, Samarkand and Fergana. On the very first day of World War II, Irakly Toidze began designing the poster The Motherland summons you! and before long it was known throughout the entire country. The image of the Motherland in Soviet political poster art has its origins in the inter-war period. This image personifies the strength and spiritual power, the resolve and sense to duty of the Soviet woman. When I saw this poster, I thought my own mother had come to see me off to the front. I received no letters from her. Whet I came back from the war there was no home the Nazis had burnt it down and there was no mother either- they had killed her. But I have done what you wanted, Mother, I came back home victorious. These lines were taken from a letter by D. Pavlovsky, a war veteran, and they illustrate the compelling power of the poster during the Second World War. Many other war-time posters merit special mention: Crush the Nazi beast! (A. Kokorekin), Rout and destroy the enemy mercilessly! (Kukryniksy Group), Son, rout the Nazis in the holy war! (F.Antonov), Soldier, save us! (V. Koretsky), Avenge us! (D. Shmarinov), Stand up for Moscow! Drive the enemy back from the capital! (V. Klimashin), The Dniepr is free for us to drink from again! and Youve brought life back to us! (V. Ivanov), Lets march onwards to Berlin! and Weve done it, weve arrived! (L. Golovanov). During the war the work of those artists who had begun designing in the thirties flourished, namely the Kukryniksy Group, A. Kokorekin, V. Ivanov, V. Koretsky and N. Dolgorukov. Designers of the older generation (Deni, Moor, Lebedev and Cheremnykh) also produced interesting and original war posters. During these years of hardship many oil painters turned their attention to poster design. It was at this time that P. Sokolov-Skalya wrote the following: Could there be anything more agonizing for a Soviet man or for an artist than the realization that he is cut off from his people? Is there anything more fulfilling however, than the realization that you are fighting together with the rest of your country? I am fighting the war and my weapon is three hundred posters. I see my posters in the streets of Moscow, on the walls of houses and in shop windows I visited in front lines and there too I saw our posters in dugouts, in pillboxes and trenches, even on tree trunks and telegraph poles. But perhaps my most vivid recollection of the front was a tank ready to enter battle. The driver threw the turret hatch open and climbed inside. The tank turned and I saw my poster pasted on it. The war effort by the masters of military political poster design was greatly appreciated by the Soviet Government and they were all honoured in 1942 with State prizes. (Among them were the Kukryniksy Group M. Kupriyanov, P. Krylov and N. Sokolov; V. Ivanov, L. Golovanov, A. Kokorekin, V. Koretsky, P. Sokolov-Skalya, M. Cheremnykh, N. Radlov, G. Savitsky and P.Shukhmin.) From the late fifties onwards, the aesthetic path of poster design changed direction. A desire for generalization, symbolism and imagery was making itself felt. Special attention was paid to form and a marked emphasis was given to bright colours. Following this trend to a certain extent, the poster of the seventies focused on the inner life of people, perfecting and diversifying its graphic idiom with the help of different media an techniques. Much of the subject matter of modern posters in the Soviet Union deals with the historical decisions of the Communist Party, which are aimed at securing a steady rise in the living standards and cultural well-being of the Soviet people. The posters encompass a wide range of topics linked to the construction of communist society. Social progress, advances in science and technology provide new subjects for poster art. For example, the development of the Virgin Lands, nuclear research, research into outer space, environmental health schemes. The poster continued, however, to serve as a medium for spreading communist ideas. The poster designers reflected the nations overwhelming desire for peace and its fear of war. The theme of peace was presented in many different ways, for example: Down with war! by V. Ivanov (1962) and Peace to the world by V. Karakashev (1965). The Soviet people so inspired artists that posters such as Pirchiupis by J. Galkus and Nobody and nothing is forgotten by Yu. Tsaryov (1966) began to appear. Other posters which have since become famous, were also published at this time: The triumphant end of the war has brought spring back to our country (1965) and We were thinking of you, the people, all the time (1967) by O. Savostyuk and B. Uspensky, and Peace is one of the main tasks of our country by O. Maslyakov (1977). The tradition of spreading the ideas of international brotherhood and struggle against aggression was encompassed by O. Maslyakov and Ye. Tsviks lyrical poster Good morning, Africa! (1960), by V. Koretskys No to fascism! (1973) and by Ye. Kazhdans pamphlet cover Chile (1973). It is now forty years since the war ended and much new talent has blossomed in the field of Soviet poster design. The honorary title of veteran now belongs to designers who first signed their posters during the twenties, thirties and forties. B. Yefimov, the Kukryniksy Group and others, who began their work in the fifties, have only now become masters of their art. O. Savostyuk and B. Uspensky merit special attention, and their work is well known here and abroad. They were both pupils of Cheremnykh, and adopted the best traditions of revolutionary art, passing it on to their pupils. It is impossible to list all the names the designers whose works enjoy widespread recognition in the Soviet Union or to enumerate all the posters that have become symbols of our time. A few of the most noteworthy are: Leninby O. Savostyuk and B. Uspensky (1970), We endorse the policy of the Party by R. Suryaninov (1962), The Party is the mind, the honour and the conscience of our age N. Babin (1976), Preserve our cultural monuments! By Ye. Tsvik (1967), Through universes and ages by M. Lukyanov and V. Ostrovsky (1965), and We are the young working class by A. Yakushin (1975). Poster painters who had graduated from art schools during the sixties, also became very productive in this field. Among them are: M. Lukyanoc, V. Ostrovsky, I. Ovasapov, L. Nepomnyashchy, L. Levshunova and Ye. Tsvik. The posters of newcomers such as M. Avvakumov, A. Arsenyev. O. Volkova, Z. Lapshina and A. Yakushin have enhanced their reputation as artists. Many poster designers working in the Soviet Republics have also aroused widespread interest and a number of poster design schools have appeared in cities such as Kaliningrad, Archangelsk and Voronezh. Poster art is constantly changing and improving. Special All-Union and Republican poster exhibitions are not only a reflection of the accomplishments of poster design but also encourage budding designers. The role of the poster in the modern society remains important. The task of educating the Soviet people the builders of Communism is still considered a matter of priority by the pary. Posters remain a feature of Soviet life and continue to enjoy great popularity, both at home and abroad. They not only reflect passively important social and political developments, but also actively shape Soviet values and campaign against anything standing in the way of social advance. Poster designers acknowledge that their art is part of the mainstream of Soviet cultural life, and are aware that it must meet the rising cultural standards of the Soviet public. 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FMicrosoft Word DocumentNB6WWord.Document.8 ՜.+,D՜.+,x4 hp  'UCSBe 9K: I The Soviet political poster is an art born of the October Revolution Title 6> _PID_GUID'AN{6D1C9380-C0D6-11D3-A994-0050E4606152}  Oh+'0$ <H d p |'I The Soviet political poster is an art born of the October Revolutiont  Robert Warner pobeNormalWRobert Warner p6beMicrosoft Word 8.0t@VP@rU@B A=;  soviet music java projects  nd original war posters. Duringgn. It was at this time that P.zing for a Soviet man or for ang more fulfilling however, thany? I am fighting the war and my, on the walls of houses and ins, in pillboxes and trenches,n of the front was a tank readytereatly appreciated by the Soviet them were the Kukryniksy Group, A. Kokorekin, V. Koretsky, P.n. A desire forttention was paid to form and ad on the inner life of people,dthe historical decisions of theards and cultural well-being ofo the construction of communistew subjects for poster art. Forinto outer space, environmentalcommunist ideas. 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The first posters appeared simultaneously with monuments dedicated to the revolution of Lenin. Such posters were a predominant feature of both demonstrations and towns; they were displayed on special propaganda trains, on boats and wherever propaganda and agitation could bring the ideas of the Communist Party to the masses. The potential of the political poster as a mass-art medium its lucidity and simplicity of form, the comparative ease of large print runs, the vividness of its imagery and its genuine affinity with popular aspirations was only fully realized in the years following the revolution. The poster is seen by the Communist Party of the Soviet Union as an important ideological tool. It is a mouthpiece of the Party and also assists in solving the intricate problems of educating the masses in the spirit of communism. It involves them in public life and familiarizes them, with the culture of the age. Its progress, ideological objectives and creative pursuits are determined by the key problems of the Soviet Union. In 1919, in the formative years of the Soviet Union, Pravda, the Party paper, printed the following: During Defence Week, The Moscow Committee of the Russian Communist Party published a number of posters displayed on walls, fences and trams. The brightly coloured posters carried slogans printed in large letters such as: Denikin is out to restore power to the Tsar! Stand up for workers union, workers houses, workers schools and for the lives of workers and their families!. Workers of Russia, boast labor productivity tenfold! Give your Red Army everything it needs for victory!. All in all, 375 thousand posters were printed. In spite of an acute shortage of capital, skilled labour and printing materials, posters were given first priority in print shops and publishing houses. No sooner than it appeared, the poster began to play an active part in the life of the Republic. Posters were published in seventy towns by organizations such as the political wing of the Red Army, The Womens Organization and Gosizdat. The first years of the proletarian state saw the development of the poster as a graphic-art genre. All artists, professional painters, graphic designers, book illustrators and amateur artists looked upon poster design as a Revolutionary duty. The new art form embraced the tradition of Russian satirical art of the 1905 Revolution, but also made use of Russian folk art, book illustrations, newspaper and magazine cartoons. At the same time, poster design developed its own techniques: the use of laconic style and a particular image and colour symbolism. A remarkable sense of the era characterizes these early posters. All ties with the departing bourgeois world are broken and the future is presented in bold outline. The masses the defenders of the Revolution become the central heroic figure. tions aree budding designers. The rolehe Soviet people  the buildersnly reflect passively importants and campaign against anythingrt is part of the mainstream ofc TPjbjbSS 11JJ]$ *D!~,k"_$n n n n ~""~n n ~~n<$ J~ The Soviet political poster is an art born of the October Revolution. The first posters appeared simultaneously with monuments dedicated to the revolution of Lenin. Such posters were a predominant feature of both demonstrations and towns; they were displayed on special propaganda trains, on boats and wherever propaganda and agitation could bring the ideas of the Communist Party to the masses. The potential of the political poster as a mass-art medium its lucidity and simplicity of form, the comparative ease of large print runs, the vividness of its imagery and its genuine affinity with popular aspirations was only fully realized in the years following the revolution. The poster is seen by the Communist Party of the Soviet Union as an important ideological tool. It is a mouthpiece of the Party and also assists in solving the intricate problems of educating the masses in the spirit of communism. It involves them in public life and familiarizes them, with the culture of the age. Its progress, ideological objectives and creative pursuits are determined by the key problems of the Soviet Union. In 1919, in the formative years of the Soviet Union, Pravda, the Party paper, printed the following: During Defence Week, The Moscow Committee of the Russian Communist Party published a number of posters displayed on walls, fences and trams. The brightly coloured posters carried slogans printed in large letters such as: Denikin is out to restore power to the Tsar! Stand up for workers union, workers houses, workers schools and for the lives of workers and their families!. Workers of Russia, boast labor productivity tenfold! Give your Red Army everything it needs for victory!. All in all, 375 thousand posters were printed. In spite of an acute shortage of capital, skilled labour and printing materials, posters were given first priority in print shops and publishing houses. No sooner than it appeared, the poster began to play an active part in the life of the Republic. Posters were published in seventy towns by organizations such as the political wing of the Red Army, The Womens Organization and Gosizdat. The first years of the proletarian state saw the development of the poster as a graphic-art genre. All artists, professional painters, graphic designers, book illustrators and amateur artists looked upon poster design as a Revolutionary duty. The new art form embraced the tradition of Russian satirical art of the 1905 RevP<TD:sed s Comrade Moor has designed 150 mmittee of the Republic, noting attle he has waged with his own enemies. To make an enemy look to expose his true nature is a out wholly identifying with the e colours for his revolutionary ts that inspired the nations in against the enemy, is a goodired people with enthusiasm forion and the mood was in harmonyoung and energetic& and Let our by Kogout with the caption: We Comrades, roll up your sleevese leader of the Soviet State. Ae s Publishing House (1919) andeanses the land  with a sketch Council of People s Commissarsdelivered by Lenin to the Ninthnted a panoramic view of Sovietrtand function of the poster atachievements ofand to tackle topical subjects.. Deineka s posters convey withciety. For example: Work, build  another example of Deineka sf plants, blast furnaces, powerry and factual content were twother. This helps to explain thewn. It combined the accuracy ofic importance of such design iso his appeal the poster depicts stretched. Klusis posters aree production target! (1930) for a background of blastfarmer and builder of socialismd includen in the Lenin Library V. Ivanov. It was also at thisrance; the concentrating of theese newcomers were establishingainst the external and internalspecial place in the history oforganizations allied themselvestrigue, calling upon the peopleg to them the inhuman nature ofme: an impassioned denunciation olution, but also made use of Russian folk art, book illustrations, newspaper and magazine cartoons. At the same time, poster design developed its own techniques: the use of laconic style and a particular image and colour symbolism. A remarkable sense of the era characterizes these early posters. All ties with the departing bourgeois world are broken and the future is presented in bold outline. The masses the defenders of the Revolution become the central heroic figure. P<TDgetherof Moor, took an active part inkent, Samarkand and Fergana. Onrland summons you!he inter-war period. This imagef the Soviet woman.  When I sawhere was no motherme back home victorious. Theseate the compelling power of thebeast! (A. Kokorekin), Rout ands in the holy war! (F.Antonov), up for Moscow! Drive the enemy from again! and You ve brought ve done it, we ve arrived! (L.thirties flourished, namely theof the olderABBBaCC5DDErEE/F0FF GzGGTHH3IIJjJJ5KKKbLL?ML?M@MMNNOpOOOPPPPP ?M@MMNNOpOOOPPPPP8:/ =!"#$%ion. The first posters appeared Such posters were a predominant propaganda trains, on boats andty to the masses. The potentialm, the comparative ease of popular aspirations  was onlye Communist Party of the Sovietand also assists in solving thenvolves them in public life and tives and creative pursuits aretive years of the Soviet Union, , The Moscow Committee of the fences and trams. The brightlyt to restore power to the Tsar! the lives of workers and theirur Red Army everything it needste sABBBaCC5DDErEE/F0FF GzGGTHH3IIJjJJ5KKKbLL?ML?M@MMNNOpOOOPPPPP ?M@MMNNOpOOOPPPPP / =!"#$%ion. The first posters appeared Such posters were a predominant propaganda trains, on boats andty to the masses. The potentialm, the comparative ease of popular aspirations  was onlye Communist Party of the Sovietand also assists in solving thenvolves them in public life and tives and creative pursuits aretive years of the Soviet Union, , The Moscow Committee of the fences and trams. The brightlyt to restore power to the Tsar! the lives of workers and theirur Red Army everything it needste shortage of capital, skilled shops and publishing houses. No e of the Republic. Posters wereng of the Red Army, The Women sgraphic-art genre. All artists, looked upon poster design as a olution, magazine cartoons. At the samed a particular image and colour e departing bourgeois world are of the Revolution  become the design and their names are now eremnykh, V. Deni, A. Apsit, N. Moscow and Petrograd.  I wants creative aspirations. Indeed,ized Moor s posters. The postercould not fail to galvanize itss capitalists were particularlybe crushed by it.  A handful of the major contributions of the demand. They were reproduced as the caution,  Anybody who tears e following documents, critical .  Working relentlessly for the d an immense service to the Red which raihortage of capital, skilled shops and publishing houses. No e of the Republic. Posters wereng of the Red Army, The Women sgraphic-art genre. All artists, looked upon poster design as a olution, magazine cartoons. At the samed a particular image and colour e departing bourgeois world are of the Revolution  become the design and their names are now eremnykh, V. Deni, A. Apsit, N. Moscow and Petrograd.  I wants creative aspirations. Indeed,ized Moor s posters. The postercould not fail to galvanize itss capitalists were particularlybe crushed by it.  A handful of the major contributions of the demand. They were reproduced as the caution,  Anybody who tears e following documents, critical .  Working relentlessly for the d an immense service to the Red which raigetherof Moor, took an active part inkent, Samarkand and Fergana. Onrland summons you!he inter-war period. This imagef the Soviet woman.  When I sawhere was no motherme back home victorious. Theseate the compelling power of thebeast! (A. Kokorekin), Rout ands in the holy war! (F.Antonov), up for Moscow! Drive the enemy from again! and You ve brought ve done it, we ve arrived! (L.thirties flourished, namely theof the oldernd original war posters. Duringgn. It was at this time that P.zing for a Soviet man or for ang more fulfilling however, thany? I am fighting the war and my, on the walls of houses and ins, in pillboxes and trenches,n of the front was a tank readytereatly appreciated by the Soviet them were the Kukryniksy Group, A. Kokorekin, V. Koretsky, P.n. A desire forttention was paid to form and ad on the inner life of people,dthe historical decisions of theards and cultural well-being ofo the construction of communistew subjects for poster art. Forinto outer space, environmentalcommunist ideas. Thefear of war. The theme of peace Ivanov (1962) and Peace to the to appear. Other posters whichhant end of the war has broughtple, all the time& (1967) by O.struggle against aggression was morning, Africa! (1960), by V.d in the field of Soviet posters during thers, who began their work in thepensky merit special attention,heremnykh, and adopted the bestsible to list all the names the enumerate all the posters thatre: Leninby O. Savostyuk and B.eultural monuments! By Ye. Tsvikky (1965), and We are the youngted from art schools during the: M. Lukyanoc, V. Ostrovsky, I.posters of newcomers such as M.ve enhanced their reputation asoused widespread interest and apublican poster exhibitions aree budding designers. The rolehe Soviet people  the buildersnly reflect passively importants and campaign against anythingrt is part of the mainstream of