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50th, 60th, 70th, 80th,

Cinema, Space,
Sport, Theater, Circus,
 
Artists of our gallery

Paintings collection (socrealism)
1956-1970

ukreng

Ukrainian Soviet Poster

The poster (the phenomenon of the socialist poster to be more exact) is interesting even with that it was the most mass output of artists in people for all time of existence of world art. The political conditions promoting these are clear and do not demand explanations, but it is the fact from which impossible to doupt. Posters were published by circulations from 5 up to 50 thousands, there were cases of 100 thousands circulations, and cost cheap. And they crept away with all possible ways on walls, stands, advertising curbstones and fences, in the reduced size posters appeared on the post cards, covers of magazines. In Ukraine posters publishing houses Politizdat Ukraine, "Art", "Agitplakat", "Film-poster", theatres and circuses, every possible societies: Protection of monuments ", the Red cross, etc., etc. - the purpose of these posters, still doesnt differs from basten Windows of GROWTH , not only to tell words, printed with letters, but to show a concrete intelligible picture. Now ideological pressure of the poster still frightens, but this fright is washed off by time, and there is only a graphic sheet in which the plastic stylistics of the moment are kept, talent or its missig of the creator. These material certificates of history were made by artists, so not only by hands, but also soul. In general artists are not able to make differently - or it turns out nothing.

Very few people know that the Ukrainian poster of 50-th is such surnames as Lamah, Golymbichevskaya, Hvostenko, Lopuhov, Zadorozhniy and many other respected proffesionals which later made up the color of the Ukrainian genre painting, in a youth they too made posters. The socialist realism of 50-th demanded high professionalism, skill and even virtuosity in work - a water color on a paper in the size 60 on 90, and even 100 on 70 it is necessary to be skilled.

60-th - black and red fight and merging in Merzeleves expressionism, are poured out by a paint through the silkprint sieve, in just born publishing workshop " Agitplakat " - as there were no thirty years of ideological pressure - only slightly censorship released and artists have started working in formal decisions. A pressure of constructivism and a suprematism, refinement of the art-deco - in the best posters of the period. Not casually, that the debut of the Ukrainian poster on international bienale has fallen to this time (A.Lembersky, Warsaw, 67.) The publishing house Agitplakat of the Union of artists USSR has been organized in 1963, as small publishing house with the industrial printed base. Has existed almost thirty years and has left in nonexistence, having left us in the inheritance, sheets of a brown paper (those during Soviet time, referred to half cardboard, with rough inclusions of cellulose, now such qualities goes as hand make art paper). It is necessary to tell that makes related and follows from Windows of GROWTH not only the name "Agitplakat", but also an aesthetics of poverty - bad paper, a paint with a blurring fat aura (deficiency of special paints for traffaret print resulted local masters in searches of internal resources: the laundry soap, glycerin, art oil, etc. mixed up). Now it gives to sheets a kind of authenticity and admires with sensation of authenticity.

70-th years of stagnation not only in a national economy the erased individuality of images, hallmarks - stamps, stamps, stamps... On this background at the end of 70-th Fedor Glushchuk who started in 50-th with the same depersonalized realistic genre picture, so he was like all others. His hallmark became individual and generated during this hard oppressive time for creativity.It is one of the most interesting periods of Ukrainian poster.

80-th - Situation which was in the poster of this period, cant be compared with that how painters and graphic artists lived during same time, under supervision of official exhibition committee. To see in showrooms of the Union of artists of Ukraine, and there were no others then, any formal searches was possible only in the poster. The poster as versions applied graphic, was aloud, some liberty in use of decorative effect and reserve in colour, caricature in creation of an image, use of collages in technics of performance. All this was impossible in official displays of painting, graphic, sculpture.

Here (in the poster) the life boiled: on 3-4 republican and international competitions of the poster, biennial in Warsaw, Brno, Lahti (Finland) from the postoffice for 5 Soviet roubles you send the poster, and you receive participation in the international exhibition and thick color catalogue lots of information from all the world back. Theatrical and circus Kiev puts to premiere after a premiere and to each new performance, the poster is necessary for collective. Publishing house "Film-poster " works, artists have no time to serve "Mosfilm", "Lenfilm", "Dovzhenco" - and very often the poster is more expressive than the film itself.

There was something, breath of other life was in the air - they are near to us, Poles where the poster is at an improbable level of freedom of idea and plastics - we see it in "Project", "Intergraphic".

End of 80-th begining of 90-th - this is a tragical time in a history of our art.The Ukrainian poster dies on rise. All this is applied graphic, the poster is imposible with out duplicating, duplicating is not present without the customer - "Film-poster" is closed, "Politizdat" has stopped existence, "Agitplakat" slowly dies, theatres and circuses catastrophically grow poor the poster is not ordered any more to professional artists - poster artists.

Alongside with closing of official publishing houses this is the time of the certain illusions of artists and the first opportunities to print, that what you think necessary.

The first free posters in Ukraine after 70 years of totalitarian management of ideology of communist party, by means of official publishing houses, official opinions, official censorship have been published by us, Irina Veshtak-Ostromenskoj and Vladimir Veshtak.

Gallery " Maysternia " (which referred to then creative - production co-operative Sens ) has printed in 1989-91. 15 posters on themes: preservations of traditional culture, a problem of ecology of Ukraine, itself inditification of Ukrainian people.

 

 

 

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text © Iryna Veshtak-Ostromenska 1999-2007

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