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 agitational 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 posters, 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 "Windows of ROSTA" the traditions of lubok and raeshnik were widely used, etc. The drawings of the “ROSTA Window” (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 "Windows of GROWTH" was performed in October 1919 by M.M. Cheremnykh. Then V.V. Mayakovsky, who created bright, well-aimed drawings and signatures, as well as I.A. Malyutin, D.S. Moor and others, joined him. V. Lebedev, A. A. Radakov, and others), in the Ukraine (B. E. Efimov, and others), in Baku, Saratov, and other cities.
"Windows of ROSTA" played a significant role in the development of Soviet fine arts.
The young Vladimir Mayakovsky entered poetry under the banner of the Futurists. The Futurists entered poetry noisily, with calculated scandalousness. They shocked the reader and listener with the maximalism of their literary manifestos, the unusual titles of their program collections (“Slap in the face of public taste”, “Took”, etc.) and “yellow veils”, and painted faces, and the deliberate scandalousness of public speeches.
Vladimir Mayakovsky, like his other bandmates, also shocked the audience with a yellow jacket, pop sarcasm, and catchy verses.
Like his other bandmates, Mayakovsky of those years had a heightened sense of personality, which dictated to him both the tragedy “Vladimir Mayakovsky” and such lyrical poems as “The author dedicates these lines to himself, beloved.” In his poems, the author's "I" was highlighted and emphasized:
Under the influence of the events of the revolutionary years, the tone of Mayakovsky's poems changed. There was an urgent need to speak with yesterday's still "languageless street" in a new, but necessarily understandable language. Without losing the poetic achievements of the pre-revolutionary years, 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 that do not allow verbosity."
As a tireless "laborer of the revolution", Mayakovsky widely pushed the limits of his poetic possibilities, went to the simplicity of his verse, his poetic image. Like no other of the poets of his contemporaries, he felt the pulse of his time, the energy of striving for the future:
My verse with labor will break through the vastness of years and appear weighty, rudely, visibly, as in our days the water pipe worked by the slaves of Rome has entered.
Many who are superficially familiar with Mayakovsky's poetry are frightened away from them by the unusual "ladder" of construction, sharpened, sometimes hyperbolic imagery, the predominance of oratorical, tribune intonation. Nevertheless, as you read it more, you begin to understand such a feature of the verse as the organic fusion of the poet-tribune's trumpet bass with the confidence of the "quiet" intonations of the lyricist.
The majestic result of the life of Vladimir Mayakovsky, tragically cut short at its high end, is a derivative of the poet’s long and difficult path, his life and literary biography, his discoveries, his tireless innovative search, the eternal “ride into the unknown”, and the constant feeling of being a “factory, producing happiness."
Vladimir Vladimirovich Mayakovsky "Windows of ROSTA" Completed by a student of the 11th grade of MBOU secondary school No. 6 of Noyabrsk Denis Mytsa Head: teacher of Russian language and literature Kruglaya Natalia Vasilyevna Contents Mayakovsky's photographs Mayakovsky's posters Getting started in ROSTA Attitude towards ROSTA ROSTA everyday life Influence on creativity Attitude towards “windows” Photographs by Mayakovsky What “Windows of ROSTA” are “Windows” were posters, with the help of drawings and signatures, announcing some topical event. Sharp, intelligible satirical posters with short, easy-to-remember poetic texts exposed the enemies of the young Soviet Republic. They were hung in empty shop windows, hence the name. They emerged as an original form of agitational mass art during the period of the Civil War and the military intervention of 1918-1920. ROSTA Russian Telegraph Agency, where "windows" were created. Mayakovsky's posters Beginning of work in ROSTA “My work in ROSTA began like this. - I saw on the corner of Kuznetsky and Petrovka, where Mosselprom is now, the first posted two-meter poster. Immediately turned to the head of ROSTA, comrade. Kerzhentsev, who introduced me to M.M. Cheremnykh, one of the best workers this case. We did the second window together.” V.V. Mayakovsky Attitude towards ROSTA Mayakovsky was a literary and political leader in relation to the ROSTA team. Mayakovsky was entirely in charge of the literary and thematic part of "Windows of Growth". Consequently, the work of the entire team in essence, in content, depended on it. The choice of a theme and its expression in a word was not only a literary, but also a political task. The solution to this problem required great political intuition, the ability to understand complex issues, as well as a sense of responsibility. Examples of slogans Clean the room so that it shines. A clean room has a clean body. Do not drink alcoholic beverages. To the drinker - poison, to those around - torture. Experienced workers, do not mock the young. We will train and raise the young worker. Let's quit smoking. Poison in a cigarette. An anti-Semite has no place in our country; everyone should equalize in work. We have one working class and there are no nations. Everyday life of GROWTH In 1919, there were almost no colors, I had to work in a cold workshop, sleep in fits and starts, often here, in the working room. Once Mayakovsky put a log under his head so as not to oversleep for too long. In this work, as in everything he did, his attitude towards people was manifested: a combination of sensitivity and exactingness. He could tell the artist who delayed the work: “You, Nuremberg, of course, are allowed to get sick ... You could even die - this is your own business. But the posters were supposed to be here by ten o'clock in the morning, ”and then, with unbending persistence,“ beat out the authorities ”rations for Rita Wright, an employee of ROSTA ... Influence on creativity The period of work in ROSTA for Mayakovsky was a turning point. Having set the goal of subordinating verse to the tasks of mass political agitation, Mayakovsky intensely searched for new forms of artistic expression. He did not refuse what was found by others, if it helped him to make the text more understandable and intelligible to the mass reader. Therefore, the text, at first glance, "dissimilar" to Mayakovsky's poems in general, for his "Rostino" poems may turn out to be just very characteristic and specific. Examples of slogans In a small glass, in this one, a huge plant can drown. We will expel the drinkers from the working thick. Do not scoff at the factory over those who are weak, Protect the weak from hooligan paws. Get used to discipline in general work. Unmask the simulator and throw it out. Challenge after challenge, fly through the factories! Join the competition, the team behind the team! Plants rise, strong and slender. The working ocean stirred from below. The five-year plan is the growth of the country's welfare. It's five kilometers on the road to communism. Influence on creativity 2 Under the influence of the events of the revolutionary years, the tone of Mayakovsky's poems changed. There was an urgent need to speak with yesterday's still "languageless street" in a new, but necessarily understandable language. Without losing the poetic achievements of the pre-revolutionary years, 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 that do not allow verbosity." Influence on Creativity 3 As an indefatigable "laborer of the revolution", Mayakovsky widely pushed the limits of his poetic possibilities, went to the simplicity of his verse, his poetic image. Like no other of the poets of his contemporaries, he felt the pulse of his time, the energy of striving for the future. Mayakovsky mastered all the "tricks", all the possibilities of a laconic, impetuous poetic form. Attitude towards the "windows" Mayakovsky was proud of the "ROSTA Windows". “Let the lyricists remember the poems they fell in love with,” he wrote in 1930. “We are glad to remember the lines under which Denikin fled from the Eagle” (“I ask for words”). More posters by Mayakovsky The End!
“This is a protocol record of the largest three years of the revolutionary struggle, conveyed by stains 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, bred directly by life, these are the posters that were looked at before the battle Red Army soldiers going on the attack, going not with prayer, but with the chant of ditties ”Mayakovsky V.V. Terrible laugh . Windows of Growth.-M-Len, State Publishing House of Artistic Literature, 1932, p.7
So he wrote in the posthumously published collection of poems “Loud laughter. Windows of Growth” Vladimir Mayakovsky about one of the brightest periods in his life, as well as in the history of Russian and world art, literature and poetry.
"Windows of GROWTH", and originally "WINDOWS OF GROWTH SATIRE" were posters on the political, economic and military topics of the day. They were issued from the autumn of 1919 to January 1922, first by the Russian Telegraph Agency (ROSTA), and then by the Glavpolitprosvet - the Main Directorate of Political and Educational Institutions of the People's Commissariat of Education of the RSFSR. Kozlyonkov V. A. Advertising and propaganda strategies of Vladimir Mayakovsky at the turn of the 1910s and 20s: “Windows of GROWTH” // Bulletin of Kostromsky state university. No. 17, 2011, pp. 36-37
Initially, "ROSTA Windows" were hung in the shop windows (windows) of empty stores. Hence the name of the posters, which were written in large type above the drawings as a heading - "ROSTA'S SATIRE WINDOW". The Soviet writer Viktor Shklovsky wrote: “It was necessary that the street should not be silent. The windows of the shops were blind and empty. They had to stare the thought. Mayakovsky without gloss; (compiled by P. Fokin, D. Timofeev; introductory article by P. Fokin). - St. Petersburg. Amphora, TID Anfora, 2008, p. 478
If you look at the title "GROWTH'S SATIRE WINDOW", you might think that the topics of the posters were only satirical. But this is not so, therefore, over time, the “satire” disappears from the headline, and the headline itself is replaced by the mark “GROWTH” and the number of the poster. Since February 1921, instead of this mark, “Glavpolitprosvet” has been put.
“ROSTA windows” have a number of stable features that make it easy to distinguish them. The structure of the poster consisted of several (from 2 to 13) independent drawings, which were arranged in a logical sequence, and were also accompanied by topical short texts that revealed single theme. But such a composition did not immediately become typical. In the first months of operation, the ROSTA Windows were quite diverse. For example, there are posters that consisted of one large drawing, there were those where, in addition to the drawing, a poem not related to it was placed, there are also multi-theme posters. But at the beginning of 1920, "ROSTA Windows" adopted a strict compositional uniformity.
The most stable, the most accurate sign of the uniqueness of these posters was the technique of execution. "ROSTA Windows" is a handwritten creation. All "circulation" was done by hand.
In the first months of the ROSTA Windows releases, each poster was published in one copy, because a separate, special “Window” was drawn for each showcase of empty stores. Then the posters began to be copied. The first copies were made by hand, and then the technique of drawing contours through carbon paper was used. Later, stencils, oiled paper, cardboard were used to "reproduce" posters. "Speed, then unheard of even in lithography," said Lilya Brik, Mayakovsky's common-law wife.
Here is what Mikhail Cheremnykh, one of the founders of Okon ROSTA, writes in his memoirs: “The technique of duplication and distribution of Okon was lightning fast. Having received the original, the stenciller had to bring 25 copies ready the next day, another 50 copies on the second day, and in a few days the entire circulation, reaching up to 300 copies, was ready. The stencil maker usually worked with the family or with a small team... The first copies received from the stencil makers were immediately sent to the most remote departments... The last copies were received by those near Moscow... Later, in addition to copies, stencils were also sent so that "Windows" could multiply already in place” M. Cheremnykh. “Mayakovsky in Growth”, Art magazine, 1940, No. 3, p. 40
Naturally, one can note the fact that the circulation of printed posters exceeded the circulation of "Windows", copied by hand. But "ROSTA Windows" had important advantages over these types of posters:
1) Each "GROWTH Window" corresponded to not one, but several ordinary posters.
2) Handwritten posters immediately responded to the topic of the day
3) Compared to printed posters, greater efficiency
“War and destruction went together. The printing press could not cope with the requirement for a poster. Even if he managed, he was hopelessly dragging out, losing his agitation.” Mayakovsky V.V. Revolutionary poster / / Krasnaya Niva No. 8, 1923 .. Further, Mayakovsky says that the one-day agitation completely switched to handbrakes, and that posters of this type had great advantages. In the same article, he writes:
“...Together with the receipt of telegrams (for newspapers that have not yet been printed), the poet, journalist immediately gave a “topic” - a caustic satire, verse. At night, artists fidgeted on the floor over yard-long sheets, and in the morning, often even before receiving newspapers, posters - “Windows of Satire” were hung out in places of the largest crowds of people: agitation centers, railway stations, markets, etc. Since the machines did not have to be considered, the posters were made of huge sizes - 4x4arsh., Multi-color, always stopping even the running one "Ibid.
In order for the poster not to lose its relevance, ROSTA employees had to work very hard. “Machine speed was required,” Mayakovsky noted in the preface to the collection “Terrible Laughter. ROSTA Windows” Mayakovsky V.V. Terrible laugh . ROSTA windows. M.; L.: State Publishing House of Artistic Literature, 1932, p. 13 - it used to be that telegraph news of a front-line victory after 40 minutes - an hour already hung along the street like a colorful poster ... This pace, this speed was required by the nature of the work , and the number of new fighters depended on this speed of posting news of danger or victory ”Ibid.
The first "Window" was hung out in August 1919 at the corner of Tverskaya Street (now Gorky Street) and Bolshoi Chernyshevsky Lane (now Stankevich Street) in the window of a former confectionery shop. It was written in the title - "Window of satire ROSTA No. 1". At the beginning of the release of posters, there was no single numbering for all showcases: it began with the first number for each new showcase. Consequently, completely different "Windows" received the same numbers.
The demand for posters increased with each release of the poster, so the pace of creating new "Windows" noticeably accelerated. The most record number of posters produced ranges from 200-250 issues in October 1920. Most latest release"Windows" under the brand name "ROSTA" came out at the beginning of 1921 under the number 944, the next editions of the posters were already issued under the brand name of Glavpolitprosveta. There they were released for another year. Due to the gradual opening of stores in Moscow, the number of empty storefronts decreased noticeably over time, but this can also have its advantages - Okna Growth began to be sent to the provinces in large numbers. Evventov I.S. notes that if we compare 1920 and 1921 in terms of the number of posters, the release of "Windows" in 1921 was halved compared to the previous year. Eventov I.S. Mayakovsky is a poster artist. Critical essay. - L.; M .: Art, 1940, p. 43 But the pace of work and the overall volume were the same, since from the spring of 1921 the “Windows” become multi-drawn and have a very large format. The text, for example, in these posters could be from 30-40 poetic lines.
The last numbered "Windows" under the brand Glavpolitprosvet has No. 453 (in relation to January 1922). Therefore, we can calculate the approximate number of posters issued by ROSTA and Glavpolitprosvet together - 1397 (if we add up the last numbers of the telegraph agency and the main department of political and educational institutions of the People's Commissariat of Education of the RSFSR). And if we consider the average circulation (150), then it turns out that the artistic team produced about 250 thousand posters and more than two million individual posters-drawings. Kozlyonkov V. A. Advertising and propaganda strategies of Vladimir Mayakovsky at the turn of the 1910s and 20s: “Windows of GROWTH” // Bulletin of the Kostroma State University. №17,2011, p.56
As you know, the main artistic department of ROSTA mainly consisted of three people - Mayakovsky, Cheremnykh, Malyutin. This creative tandem accounts for over 1,300 posters. Malyutin, who demanded a more detailed study of the poster, was less "prolific" than his colleagues. Working in close contact, the artists developed a common, corporate "Rostinsky" style. Finding one was their common property.
“We borrowed conspicuous tricks from each other, and then it would seem wild to us if someone saw something shameful in this. One of us was the first to solve a new problem, and the rest then used this solution ... I somehow came up with the idea of putting a crow on the pipe of a destroyed steam locomotive. It turned out very expressive. Then everyone, depicting devastation, began to draw such crows. I myself borrowed from Mayakovsky the method of depicting smoke in a spiral, as small children draw smoke ”M. Cheremnykh. "Mayakovsky in ROSTA" // "Art", 1940, No. 3, M. Cheremnykh noted in his notes. He also writes that the style of drawings that Mayakovsky used in the posters was a variation of the style of the creative team. It should be noted that his recollections can judge the friendly atmosphere that reigned in ROSTA, which helps in joint work.
Mayakovsky treated his comrades, work colleagues reverently and caringly, but when it came to discipline, the poet did not know any indulgence. After all, it was an important, serious, political work. The posters were drawn as immediate, urgent responses. Later, Mayakovsky said: “The range of topics is huge: agitation for the Comintern and for picking mushrooms for the starving, the fight against Wrangel and typhoid? lice, posters about the preservation of old newspapers and electrification "Mikhailov A.A. Mayakovsky (Series "Life of Remarkable People").-M: Young Guard, 1988.str. 132-133
In relation to the ROSTA team, Mayakovsky was both a literary and political leader. The art department was headed by M.M. Cheremnykh. Of the creative team, he was the only full-time employee of ROSTA who took over the organizational work. Cheremnykh and Mayakovsky were in friendly cooperation, and they performed some tasks jointly. But, however, everyone considered Vladimir Mayakovsky the leader of the ROSTA team. The artist Amshey Markovich Nurenberg, who in 1920-1921 was a member of the main core of the ROSTA group of artists, noted: “Mayakovsky accepted our work on the go. He expressed his opinion sharply and frankly, softening his words only when Cheremnykh's posters were in front of him. Mayakovsky without gloss; (compiled by P. Fokin, D. Timofeev; introductory article by P. Fokin).-SPb.-TID Amphora, 2008, p.481
The entire literary and thematic part of "Windows of GROWTH" was entirely in the introduction of Mayakovsky. It can be said that the work of the team depended on it, both in essence and in content.
The themes for the posters were not planned by the artists themselves. The theme of the drawing was always determined by the text on the poster, which Mayakovsky wrote. In cases where the author of the text was another artist, Mayakovsky approved them or, conversely, rejected them at his discretion.
It is worth noting that the text written for the poster was not only the definition of the “Windows” theme, but was a kind of prerequisite for creating a pictorial image. The idea of the verse guided and prompted the artists which image would be best to draw on the poster. Undoubtedly, talented artists worked on the creation of "Windows of GROWTH", but it is worth noting that the poet's opinion was the guiding and determining factor in this tandem.
Determining the theme of the poster, as well as expressing it in the text, was not only a literary task, but also, of course, a political one. Its solution required an excellent understanding of politics, having a political flair, understanding complex issues, and also understanding that a great responsibility rests on the shoulders of the creative team.
Newspapers were the main source of topics for posters. Every day, Mayakovsky looked through such newspapers as Izvestia, Pravda, Wall Newspaper ROSTA, Gudok, Economic Life, and believed that telegrams, articles, slogans were no less important materials for posters.
Among other things, the department received summaries of very important telegrams during the day, so some topics were planned in advance for already known dates.
Thus, relying on the instructions of the party in the political sphere, Mayakovsky exercised political leadership over the release of posters.
Mayakovsky was proud of the ROSTA Windows. Returning to his preface article “I ask for words,” Mayakovsky wrote: “Let the lyricists remember the rhymes they fell in love with. We are glad to recall the lines under which Denikin fled from the Eagle ”Mayakovsky V.V. Terrible laugh . ROSTA windows. M.; L.: State Publishing House of Artistic Literature, 1932, p. 65. The city is not indicated here by chance. As you know, posters were published during the civil war, and the battles around Orel are one of the most intense moments in this war. Let us turn to the history of the CPSU (b) Izmozik V.S., Starkov B.A., Pavlov B.A., S. Rudnik S.N. The true history of the RSDLP-RKPb-VKPb. Short course. Without omissions and falsifications. - St. Petersburg: Peter, 2010. - p. 227: “Trotsky ruined work on the southern front, and our troops suffered defeat after defeat. By mid-October, the Whites had mastered the whole of Ukraine, took Oryol and approached Tula, which supplied our army with cartridges, rifles, and machine guns. The Whites were approaching Moscow. The situation of the Soviet Republic became more than serious. The party sounded the alarm and called on the people to fight back. Lenin gave the slogan: "Everything to fight against Denikin" Mayakovsky V.V. Terrible laugh . ROSTA windows. M .; L .: State Publishing House of Art Literature, 1932, p. 67. We can say that work on posters began from the moment when the country was in a very tense situation.
Of course, the work on the ROSTA Windows posters is a serious stage in the literary biography of the poet. First of all, it was very fruitful for him. Mayakovsky sought to make his word as effective and active as possible. As for the “word” in the ROSTA Windows, it was supposed to carry a direct political meaning. His main task is to call.
It should be noted that the posters are very diverse. They have both sarcasm, and light irony, and heroic pathos. They are also characterized by intonations of a simple story and message, as well as clarification and persuasion. But still, the main function of the "Windows of GROWTH" was propaganda. For these posters, it was necessary to write in such a way that every simple peasant, worker, having looked through and read the “Window”, could not only remember its content, but also act as the agitators demanded. The poetic texts really look like the "Soviet alphabet", which explained to a wide audience "who is to blame" and "what to do" in this situation. Karabchievsky, in his critical work The Resurrection of Mayakovsky, wrote: “He gave this power the gift of speech. Not the old street, but the new government would have writhed without language, if it hadn't been for Mayakovsky. With him, without knowing it for a long time, she got into her possession exactly what she lacked: the greatest master of the verbal surface, the genius of the verbal formula. Karabchievsky Yu. A. Mayakovsky's Resurrection. M.: Contemporary. 1990, p. 109 Of course, the creative team faced a creatively difficult and politically acute task. Due to the “telegraph pace”, the task became doubly difficult.
“Outside 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 taste, raised the qualifications of poster art, the art of agitation ... It is no coincidence that many of these works designed for a day ... ten years later became things of real so-called art, ”Mayakovsky wrote in I Ask for Words. If we analyze the last words from this quote, then in context they primarily refer to the pictorial side of the posters. The interaction of political poems with drawings, a theme that was so far from traditionally "poetic", all this spoke of the need for new literary solutions, which required a new artistic method from the poet, unusual for book poetry.
So, we can say that the Soviet social advertisement period of the NEP became a helping link in the communication of the new government with the people. The achievements of the Russian avant-garde anticipated the development of Russian advertising, and constructivism came to the aid of the Soviet government with its main features: brevity, clarity and dynamics, expressiveness and contrast. The context of the avant-garde, therefore, directly points to the prerequisites for agitation and advertising activities in the 1920s.
The creation of political posters "Windows of ROSTA" is certainly an important page in the prerequisites for the creation of Soviet advertising posters. They were a bright and unique chronicle of their era. Mayakovsky, step by step, explained to the reader of Okon ROSTA, that is, to the masses of working people called by the October Revolution to political life, the most important programmatic provisions of Bolshevism, the main tactical slogans of the party. Assistance to the party in the work on the moral and political education of the people - such was the ideological aspiration of Mayakovsky's entire work in the ROSTA Windows. Written thirty years ago and extremely saturated with the "topic of the day", many texts of "Windows of GROWTH" have not lost their political sharpness even today. And the principles of installation of poetic slogans and the image in the posters "Windows of ROSTA", the layout of the advertising field will be further used by Mayakovsky in social and commercial advertising. We can say with confidence: political posters and advertising of the early 20th century are a powerful foundation for modern world advertising, because Soviet posters of that time were and are masterpieces of world advertising graphics.
political agitation poster Mayakovsky
Note
"The Second Collected Works" - this is how V. V. Mayakovsky called his "windows" of the ROSTA satire and the "windows" of the Glavpolitprosveta. And this assessment of topical one-day propaganda posters on a variety of topics, made by hand, is very significant and speaks volumes. On the one hand, the scale of this work was emphasized, its place in the artist's creative biography. On the other hand, it contained the recognition of the socio-historical and literary-artistic, aesthetic value of these posters. The awareness of the need for Rostinsky posters for the people, who, with weapons in their hands, defended the conquests of October from the encroachments of the White Guard and interventionists, broke through the enemy blockade, fought devastation, hunger, cold, epidemics, forced Mayakovsky and his comrades in the literary and artistic department of ROSTA from day to day day and in incredibly difficult conditions to write this artistic chronicle of the most difficult three years for the socialist revolution. Then, obviously, the understanding came that the “windows” would not only become the brightest documents of the era of the first socialist revolution in the history of mankind, but also open a new page in literature and art. And this understanding of the enormous significance of the "windows of satire" made Mayakovsky, soon after the cessation of their release, draw the attention of the Soviet public to collecting and preserving everything that had survived from them (see the poet's articles of 1923 "Revolutionary poster" and "Collect history"), repeatedly talk about "windows" and his Rostinsky activities in subsequent years (see the articles "Only not memories ...", "I ask for words ...", "Windows of ROSTA satire", a speech in the Komsomol house of Krasnaya Presnya at the evening dedicated to the twentieth anniversary activities, March 25, 1930).
The "windows" of the ROSTA satire were hung out and exhibited in empty shop windows located in the most crowded places: the main thoroughfares of cities, central and railway station squares, factory suburbs, etc. Hence, from shop windows, their name came from - "windows". Here, to these shop windows, or "windows", people flocked to find out last news from the fronts and construction sites, to pick up the next appeal of the party and government, to clarify for oneself the immediate tasks in the difficult conditions of the new economic policy, to further establish oneself in the rightness of the cause in the name of which hardships and hardships were endured, a mortal struggle was waged against the numerous enemies of the Soviet Republic. And here, at these "windows" responding to the most important, most burning questions of the day, laughter never ceased. The artists and poets who created these posters did not only the daily work of publicists, called upon to write the history of modernity, not only provided the truthful word of the agitator all possible assistance to their people in the struggle for new life. They carried cheerful humor and that charge of optimism to the struggling people, which helped to overcome difficulties and hardships more easily, to maintain faith in the imminent and inevitable triumph of communism.
The first "windows of satire" appeared in Moscow in late August - early September 1919. They were made by the artist M. M. Cheremnykh and the journalist N. K. Ivanov-Gramin, who at that time worked in ROSTA - the Russian Telegraph Agency, which was headed by P. M. Kerzhentsev. M. M. Cheremnykh later recalled: “I conspired with Ivanov-Gramin and, at my own peril and risk, made the first “ROSTA Window” ... showed Kerzhentsev and, having received his approval, hung it in the window former store Abrikosov, at the corner of Chernyshevsky Lane and Tverskaya" ("Mayakovsky in ROSTA", magazine "Art", 1940, No. 3). "Window" had big success at the public. This forced the Rostinites to periodically update the shop window, produce new "windows", and then adapt several new shop windows for the same purpose in different places in Moscow: on Kuznetsky Most, on Sretenka, and other posters; which were exhibited in these showcases, at first they were not duplicated, they made up independent series with their own renewal frequency, their own numbering.
The first "window" of Rost's satire, made by V. Mayakovsky. 1919
These series of "windows" were called according to the place of their permanent exhibition, in shops: "abrikosovskaya", "sorokoumovskaya", etc. Four or five weeks after the first appearance of the "windows", in early October, Mayakovsky, who had just completed work on " Soviet ABC", got acquainted with one of these posters at the window of the Sorokoumovsky store on the corner of Kuznetsky and Petrovka and immediately appreciated the enormous artistic and propaganda possibilities of the "windows". He, according to him, "immediately turned" to P. M. Kerzhentsev, who "brought" him to M. M. Cheremnykh. Together with the artist I. A. Malyutin, who came to ROSTA at the same time, they made up that mighty trio , which was the main force in all subsequent work on the "windows".
V. V. Mayakovsky goes headlong into work on the "windows of satire", immediately takes over the entire literary part of the case, intensively, not inferior in this to M. M. Cheremnykh and I. A. Malyutin, also works on poster drawings like an artist. Soon he becomes the soul of the entire business associated with the release of the "windows" of the ROSTA satire, which grew stronger and expanded literally every day. It was he who, preparing the text of the "windows", outlined and determined their subject matter and content, the amount of joint work of the artistic group of the Rostinites. This position of Mayakovsky in the team was facilitated by the great literary and political authority of the poet, his great personal charm. This authority and the tacit leadership of Mayakovsky in the whole business of producing "windows" of ROSTA satire was recognized by both M. M. Cheremnykh, who was in charge of the art department, and the head of ROSTA, P. M. Kerzhentsev. With both, Mayakovsky quickly established a complete understanding. In the person of P. M. Kerzhentsev, Mayakovsky found a wise and sensitive party leader and organizer, a like-minded and colleague in the literary business, in the struggle for new art and a new culture, a person with great erudition and a broad outlook, the ability to find and support any sprouts of the new, advanced. His influence, the whole atmosphere in ROSTA had the most fruitful effect on Mayakovsky.
A. A. Deineka. Mayakovsky in the workshop "ROSTA Windows". 1941 Mayakovsky in the workshop of ROSTA. Artist A. Deineka. 1941
"Windows" of ROSTA satire are rightfully considered the brainchild of V. V. Mayakovsky. But to be born and develop into such a bright and original phenomenon, to become a powerful weapon of revolutionary agitation and education of the masses, and at the same time, the phenomenon of the great, unprecedented art of Mayakovsky's "ROSTA Window" could only be under the influence of the October Socialist Revolution and only in those specific historical conditions. that developed in Soviet Russia in the course of the struggle against the interventionists and the White Guard.
The formation of ROSTA was an integral part of Lenin's plan for the creation of a new type of Soviet press. The new unified information body was intended not only to supply Soviet newspapers with truthful information. Great hopes were also pinned on him in terms of further expansion, improvement and perfection of all the organizational, propaganda and agitational work of our press. However, the proper implementation of these Leninist plans came only after P. M. Kerzhentsev came to the leadership of ROSTA in the spring of 1919. A professional Bolshevik revolutionary who worked with V. I. Lenin back in his emigrant years, a talented writer who understood well the special specifics of the journalistic profession, its exclusively important role in the conditions of the struggle to build a socialist society, Kerzhentsev brilliantly implemented the leader's broadest plans regarding GROWTH. In addition to its direct functions, ROSTA assumes a number of such responsibilities that no news agency has ever performed before: it manages the peripheral press, instructs and trains journalistic personnel, and carries out a huge publishing activity. The ability to sensitively respond to the needs of a new reader, to overcome difficulties, the whole atmosphere of creative burning and searching, characteristic of the ROSTA team, in which party writers, the best representatives of the old creative intelligentsia, and talented youth worked together - all this prepared the appearance, and then wide distribution "windows" of ROSTA satire.
"Window" Rost No. 532. Fragment. Drawing by V. Mayakovsky
In the preface to the catalog of the exhibition of "windows" of ROSTA satire, organized at the Tretyakov Gallery in connection with the tenth anniversary of their appearance, P. M. Kerzhentsev wrote: lithographers, paints, paper, lithographic specialists, etc." ("The exhibition "Windows of satire ROSTA", Moscow, State Tretyakov Gallery, 1929). V. V. Mayakovsky repeatedly spoke about the same, putting their birth in direct dependence on "the most difficult, paperless, machineless, manual time" ( see the article "Windows of satire ROSTA"). paper industry and printing had a negative effect on the position of the young Soviet press. The total number has been reduced periodicals. Even Pravda was sometimes published in a reduced format and on two pages, with a circulation barely exceeding 100,000 copies. The press distribution apparatus was poorly organized. The newspaper sometimes did not reach its main reader - the worker-peasant masses. As a result, systematic campaigning was reduced. Stating this situation, the IX Congress of the RCP (b), held in late March - early April 1920, called on the communists "to make every effort to increase the amount of paper produced, improve its quality, bring order to the printing business and thereby ensure working peasant Russia with the socialist printed word" ("CPSU in resolutions and decisions of congresses, conferences and plenums of the Central Committee", Moscow, 1970, vol. 2, p. 164). The implementation of this important task was facilitated by the initiative of the press workers and political workers themselves.
In the ROSTA team, the first "oral newspapers" (loud readings of printed newspapers in clubs, propaganda centers, etc.) and "live newspapers" (dramatizations, theatrical performances on the topic of the day) are born. The Rostinites were the first to create newspapers of agitation trains and agitation steamboats, at first using chalk and walls of wagons, sides and deckhouses of steamboats. ROSTA becomes the initiator of the production of printed wall newspapers, intended for posting in the most crowded places: on the streets and squares, at railway stations, agitation centers, clubs, etc. Rostinians are the first to use shop windows to place the so-called "poster messengers" or " windows of the last telegrams", which were made by hand by type artists and updated daily.
A special role in the preparation of the issue of "ROSTA Windows of Satire" was played by the "ROSTA Wall Newspaper". With the advent of P. M. Kerzhentsev, this newspaper began to appear several times a week. Similar to this newspaper Centro-ROSTA, local branches of ROSTA begin to issue their "stennovki". The enormous importance of newspapers of this type was emphasized in one of the instructional letters from Centro-ROSTA, drawn up in August 1919 and signed by P. M. Kerzhentsev: on the widest possible scale, a network of a new type of mass newspapers - wall newspapers for mass purposes. A wide network of provincial and district "ROSTA Wall Newspapers" made it possible not only to better organize the information service, but also turned ROSTA into the largest and well-established center of systematic agitation among the broadest sections of the population of the republic. Very soon, already in 1920, these newspapers accounted for about half of all periodicals published in Soviet Russia.
The experience of publishing such newspapers of a new type had a significant impact both on the very fact of the appearance of "windows" of ROSTA satire, and on the nature of their content, the degree of prevalence, and the forms of existence.
"Window" of Growth No. 598. Drawing by V. Mayakovsky
The first "windows" of ROSTA satire were made in the form of enlarged pages of a satirical magazine. It was an attempt to create a satirical magazine, "printed" by hand, that is, propagated using stencils. At first, neither Cheremnykh nor Kerzhentsev went beyond these plans. P. M. Kerzhentsev well understood the great revolutionary role of satire, the formidable power of laughter. He also knew how highly valued satire and humor, masterfully used the weapon of laughter K. Marx and F. Engels, V. I. Lenin and his closest associates. Kerzhentsev invites M. M. Cheremnykh for permanent work in ROSTA as an artist who has proven himself in the satirical field. With the advent of the Cheremnys, caricature is firmly established on the pages of Rostinsky publications, and above all in the Wall Newspaper ROSTA, and the number of artists and writers gravitating towards satirical genres is growing. They will soon organize the publication of a printed satirical wall newspaper called "Red Beach". However, difficulties technical order they did not allow to fix this edition, to make its release regular and operational. Then the idea arose of issuing a satirical magazine or bulletin by hand, followed by its exposition in shop windows.
V. V. Mayakovsky, having come to ROSTA, at first supports such a satirical "edition". He immediately puts his "Soviet alphabet" at the disposal of the "editorial office", which begins to be "printed" from issue to issue with a continuation. Until the end of 1919, he made, alone or in collaboration with M. M. Cheremnykh and I. A. Malyutin, many such "windows", built like enlarged pages of a satirical magazine. Each "page" consisted of several independent, thematically unrelated satirical works a wide variety of genres. Being sharply topical in its content, bright and witty in execution, the "windows of satire" attracted crowds of readers. It was readers, since the text of such "windows" was calculated in many dozens of lines, and the drawings, as a rule, had an independent meaning.
At the same time, V. V. Mayakovsky immediately created a new type of "satire windows", which gradually replaced the "page windows". From the beginning of 1920, these new "windows" allowed the Rostinites to turn a hand-made poster into an effective weapon of agitation and education of the masses, not only within Moscow, but throughout the entire Soviet Republic.
Mayakovsky abandoned the multi-darkness inherent in "windows-pages". The content of each "window" was subordinated to only one topic, one specific agitational task - to explain the essence of the party week held these days, an appeal to the working people to replenish the ranks of the Communist Party. Text and drawings complemented each other, worked for the main purpose of the poster.
The first "window" of ROSTA satire, made by Mayakovsky, suggested to the Rostinites that the main thing in determining their subject matter should be the effective participation of the artist-agitator and poet in the most important political, party, military and national economic campaigns conducted by the party and government, that the content of the "windows of satire" should be determined by the most important political slogans and appeals of the party, drawn from the most recent decisions and resolutions of the party, speeches of its leader and head of the world's first workers' and peasants' state, V. I. Lenin, his closest associates in the party and revolutionary struggle. In the same "window" Mayakovsky successfully solved the problem of the artist's connection with the reader and viewer, the accessibility and intelligibility of the main idea expressed by him in the poster.
The special form of existence of the poster, taken out into the street, required new forms of processing campaign material, the search for new expressive means both in text and in drawings. The main advantage of this new form was to be the simplicity, clarity and conciseness inherent in the "telegraphic style". This was important, first of all, from the point of view of the perception of such a poster by the worker-peasant and Red Army masses, who were mostly illiterate. The laconicism of expressive means, the clarity and certainty of thought made it possible, among other things, to successfully solve the problem of replicating such hand-made posters, and, consequently, the effectiveness of their impact on the broadest masses. Such "windows" could be easily reproduced using stencils. This old technique of the masters of painting was improved by the Rostinians and rendered them a great service in their further work on the "windows of satire". In this way it was possible to propagate "windows" in the amount of 200-300 copies within a few days. Already on the second day, the "cutters" made up to 50 sets of stencils, which were immediately sent to all 47 (and later more) local ROSTA branches, where they were multiplied and distributed on their own. This practice was established by the spring of 1920.
Evaluating the "windows" later, V. V. Mayakovsky wrote in the article "Only not memories ...": "ROSTA windows are a fantastic thing. This is the service of a handful of artists, manually, for a hundred and fifty million people." The idea itself seemed fantastic: to fill with manual labor what the printing press was not able to give. This idea seemed even more fantastic when it came to the scale of the country, the readership. But in fact, everything turned out to be quite real. Fantastic were only the scale, the intensity of the work of a handful of artists and poets, the public outcry that their work caused both in Moscow and throughout the country.
As V. V. Mayakovsky recalled, five Moscow artists from Rostinsky gave monthly 50,000 copies of the "windows" of the ROSTA satire (see the article "Revolutionary Poster"). The number of all hand-made posters made by Rostin residents of different cities and departments was measured in many hundreds of thousands of copies. And at that time it was already a serious matter. One can speak without any exaggeration about the great significance of the "windows" of ROSTA satire in common system mass media and propaganda of the first years of the Soviet era. Thus, the readership of the "windows" of ROSTA satire, penetrating into the most remote corners of the country, numbered not only hundreds of thousands, but many millions. Rostinsky posters successfully made up for what the newspapers of that time could not give to the masses, the total number of which, and especially the circulation, was reduced from month to month. Moreover, Rostinsky posters sometimes even surpassed daily newspapers in their efficiency.
Noting these advantages of the “windows” of ROSTA satire, V. V. Mayakovsky wrote: “Together with the receipt of telegrams (for newspapers that have not yet been printed), the poet, the journalist immediately gave a “topic” - a caustic satire, a verse. Artists were like storks, and in the morning, often even before receiving newspapers, posters - “satire windows” were hung out in places where people were most crowded: agitation centers, stations, markets, etc. Since there was no need to reckon with cars, posters were made of huge sizes, 4X4 arch ., multicolored, always stopping even the running one" ("Revolutionary Poster"). The efficiency of the "windows of satire" is also emphasized by Mayakovsky in such a description of the Rostinsky poster: "These are telegraph news, instantly converted into a poster, these are decrees, immediately published in a ditty" ("Only not memories ...").
In the same articles, Mayakovsky also gives an idea of the working atmosphere in the ROSTA poster workshop, at home, where work on the "windows" continued after midnight. “Judge for yourself about the quality of the work,” he wrote. “The amount of it was exorbitant. I have a room on Lubyansky Proyezd; I worked in it until two in the morning and went to bed, putting not a pillow under my head, but a simple log, - this is for so as not to oversleep and have time to put mascara around the eyelashes of various Yudenichs and Denikins "(" Just not memories ...").
He characterizes even more fully the atmosphere of selfless work and enthusiasm that reigned in the poster workshop of ROSTA in another article, "I ask for words ...".
"I remember - there was no rest. We worked in a huge, unheated, freezing cold (later - a potbelly stove that eats away the eyes with smoke) ROSTA workshop.
When I got home, I drew again...
Over time, we have refined our hand to such an extent that we could draw a complex working silhouette from the heel with our eyes closed, and the line, having outlined it, merged with the line.
From the clock of Sukharevka, visible from the window, the three of us suddenly threw ourselves on paper, competed in the speed of the sketch, arousing the astonishment of John Reed, Golicher and other visiting foreign comrades and travelers who were examining us. Machine speed was required of us: it used to be that telegraph news of a front-line victory in forty 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. And this part of the general agitation raised to the front.
Mayakovsky was well aware of the enormous power of laughter with which the "windows" of ROSTA satire were charged; it is no coincidence that he called the book of Rostinsky posters prepared by him Terrible Laughter. It was the cheerful and open, life-affirming laughter of a great people, who for the first time in the history of mankind took state power in their hands in a vast country and selflessly defended their conquests from the onslaught of numerous enemies. The mockery of the enemies, the exposure of their anti-people deeds and predatory nature supported the feeling of superiority among the people, contributed to the preservation of optimism and confidence in the rightness of their cause, in its near and final triumph even in the most difficult times. All this was well understood by P. M. Kerzhentsev, who in every possible way contributed to the development of satirical genres in Rostinsky publications, and M. M. Cheremnykh, the initiator of the “windows of satire”, and V. V. Mayakovsky, through whose efforts these “windows” became a truly formidable weapon in the fight against all enemies of the Soviet people, a powerful means of political, ideological, economic and aesthetic education of the masses.
In the "windows" of ROSTA satire, Mayakovsky and his comrades used all the various forms of laughter - from angry scourging satire to harmless good-natured humor. A merciless extermination war against class enemies, against the forces of world reaction and imperialism, coexisted in "windows" with loyal criticism of mistakes, prejudices and delusions, from which the working masses themselves and the new administrative, state-economic apparatus were not free. At the same time, satire and humor in "Windows of ROSTA" were constantly combined with heroism, with the pathos of asserting a new, advanced in the life of the country and people, with an open agitational mobilizing appeal, with concrete agitation with the facts of this new life and the struggle of the Soviet people. All this variety of artistic means and techniques was due to the content of the "windows", the themes that Mayakovsky and his comrades in GROWTH prompted directly from life or, in the words of the poet himself, "the frantic pace of the revolution."
Describing the theme of the "windows of satire", Mayakovsky wrote:
"The range of topics is huge:
Agitation for the Comintern and for the collection of mushrooms for the starving, the fight against Wrangel and the typhoid lice, posters about the preservation of old newspapers and about electrification "(" I ask for words ...).
According to these posters, he wrote in another article, repeating the same thought, "day by day it was possible to trace the entire history of the revolution in rhymes and caricatures" ("Collect history").
A special place in the gallery "Windows of ROSTA", created by Mayakovsky, is occupied by posters dedicated to the Communist Party, showing its organizing and mobilizing role in the revolutionary struggle of the people, and promoting its solution. Organically connected with this theme are the "windows" devoted to the propaganda of Lenin's ideas, the leader's speeches at congresses and conferences, at meetings, and in the press. The theme of the party, the theme of the triumph of Lenin's ideas, is also heard in the "windows" dedicated to the anniversaries of the Great October Socialist Revolution.
Here, in the "windows" of ROSTA satire, Mayakovsky begins to create his first anthems of the Bolshevik Party, makes preparations for his future Leniniana:
1. If we live in disorder, as the Makhnovists want, 2. the bourgeoisie will strangle us like kittens. 3. What is the unit? Nonsense unit! 4. It is necessary to unite in the communist party. 5. And the bourgeois, no matter how ardent they are, 6. will flee from the might of millions of armies.
Many dozens of his posters were directly prompted by the speeches of V. I. Lenin, colored by the light of Lenin's ideas, Lenin's thought. (See the notes on "windows" for more on this.)
Mayakovsky evaluates the work on the "windows" of ROSTA satire from the point of view of the requirements that V. I. Lenin made to the young Soviet press in the article "On the Character of Our Newspapers." This article by the leader, published in Pravda in September 1918, the ideas and thoughts expressed in it, were then firmly assimilated by Mayakovsky and taken into service in all his multifaceted literary and artistic and social activities. These Leninist ideas and instructions played a particularly important role in shaping the style of the "windows" of ROSTA satire.
From May 15 to May 21, 1920, the First All-Russian Congress of ROSTA workers was held in Moscow. In his report at the opening of the congress, P. M. Kerzhentsev noted that "windows" had become an important part of artistic propaganda in the ROSTA structure. Mayakovsky, speaking at the congress with a special report, spoke about the use of art for the purposes of agitation and propaganda, about the special nature of the "windows" of ROSTA satire, their specifics, and referred to V. I. Lenin's article "On the Character of Our Newspapers": "Comrade Lenin, in one of his letters regarding the style of our newspaper work, categorically stated that the only huge shortcoming of our work is the absence of a telegraph laconic style in it, that everything that we can say in the course of five to ten minutes is usually thrown up in an article for whole columns". And, dwelling on the main tasks of our press, Mayakovsky said: “Consequently, it is necessary to direct all the forces working in our press to invent a method in which the impact of our ideas would not be weakened by the nebulousness and intricacy of form.” Emphasizing the great importance of developing new forms of artistic propaganda and agitation, corresponding to the new, revolutionary content, Mayakovsky added: "We need the propaganda slogan not to lose all its sharpness" ("Report on artistic propaganda at the First All-Russian Congress of ROSTA workers on May 19, 1920. ").
In January 1921, the leadership of ROSTA sent V. V. Mayakovsky as its official representative to the commission of the art and visual department, created at the All-Russian Bureau for Industrial Propaganda. The commission instructs Mayakovsky to develop a "project for the organization of artistic propaganda", and soon, on March 4 of the same year, on behalf of the All-Russian Bureau, he delivers a special report "Fine Arts and Industrial Propaganda" at All-Russian meeting industrial propaganda.
All this testifies to the enormous role that V. V. Mayakovsky played in the creation and approval of that new form of artistic propaganda, which became the "windows" of ROSTA satire, of his great authority both in ROSTA and the Main Political Education, and in the highest republican organizations, and first of all, in the party bodies, which were in charge of all the media and propaganda.
Mayakovsky, in his articles and speeches devoted to the “windows” of ROSTA satire, constantly emphasized the leading role of P. M. Kerzhentsev, who, being the leader of ROSTA, was responsible to the party both for the coherence of all its links, and, in particular, for high party membership all the agitation and propaganda carried out by it. The great editorial tact of P. M. Kerzhentsev, multiplied by the authority of a great writer and party leader, contributed to the comprehensive development of the initiative in this creative team, the growth of ideological maturity, party spirit, political vigilance and sharpness of each of its participants, and especially Mayakovsky, whose mighty talent he treated with special attention and sensitivity. And this tact, this style of the party leader, this trust and fruitful influence of Kerzhentsev on Mayakovsky allowed the latter to take a special place in the history of the "windows" of ROSTA satire.
At first, the "windows" of each showcase came out with their own numbering or without indicating the number. Apparently, there were about a hundred such "windows". From February 1920, a single numbering was introduced, which was interrupted by No. 944, when their production under the ROSTA company ceased. Then, in late January - early February 1921, at least a dozen "windows" were produced by order of the Central Committee of the Union of Miners. Since February, under independent numbering, "windows" of the Glavpolitprosvet begin to appear, the production of which ceased in January 1922 at No. 469 or 462 (the last of the discovered numbers of "windows" of the Glavpolitprosvet). The "windows" made in September 1921 by order of Gubrabis went beyond the scope of a single numbering, of which about a dozen came out in total. Both in the Rostinsky period and in the Glavpolitprosveta, "windows" without numbers came out occasionally, and there were also "reissues" of "windows" with new numbering. Thus, a total of at least 1600 "windows" were produced. (We are talking, of course, about the "windows" issued by Centro-ROSTA.)
Mayakovsky himself, shortly after the cessation of work on the "windows of satire", believed that the bulk of them had been irretrievably lost. However, the gloomy picture he painted in the 1923 articles was, fortunately, not accurate. It was inspired to a large extent by the impressions of the last months of work on the "windows" of the Glavpolitprosveta. Indeed, many "windows" of this period, especially the originals, have been lost, and their photographs have not been preserved. Not all of them are found in screen prints. With the storage of the "windows" of the ROSTA satire and the "windows" of the Glavpolitprosveta of the first period, things were different. And here a special merit belongs to M. M. Cheremnykh and N. D. Vinogradov, who worked for two years on stencilling "windows". M. M. Cheremnykh soon after streamlining all the work on the "windows of satire" organized the obligatory photographing of the originals. The albums with photographs that he retained made it possible to recreate hundreds of "windows", the originals of which have not been found or have defects in time and storage. The architect and art critic N. D. Vinogradov saved and preserved about three-quarters of all currently known originals and screen prints, and about half of all photographs of the “windows” of ROSTA and the Main Political Education Department.
Great merit in the search for and preservation of the "windows of satire" belongs to V.V. Mayakovsky, who was the first to draw the attention of the Soviet public to these revolutionary posters, appreciated their socio-historical and literary and artistic , as he put it, "scraps of history", wonderful documents of the revolutionary era.
Currently, about two-thirds of the total number, or more than 1070 "windows" made in Moscow by Mayakovsky and his comrades, M. M. Cheremnykh, have been discovered and stored in the largest archives of the country, in the State Museum of V.V. and I.A. Malyutin. (The participation of other artists was episodic.) The "windows" of the ROSTA satire were not signed by the authors. According to P. M. Kerzhentsev, the texts for all these "windows" were written, with very rare exceptions, by V. V. Mayakovsky. The poet himself repeatedly stated this: “At first, Comrade Gramen worked on the poster, then almost all the themes and texts are mine” (“I ask for words ...”).
Of the surviving "windows", Mayakovsky, as an artist, owns more than four hundred. The artistic manner of Mayakovsky's "windows" is brightly individual, which made it possible to establish with a greater degree of certainty that they belonged to Mayakovsky.
The question of whether the texts of the "windows" belonged to V. V. Mayakovsky was resolved differently.
During the life of V. V. Mayakovsky, only 15 "windows" were published, the texts of which could be considered unconditionally authorized. First of all, these are texts published by the poet in the journals Krasnaya Niva (1923), Ogonyok (1930), as well as texts included by him in the fourth volume of his lifetime Collected Works, published in 1929. Undoubtedly, Mayakovsky owns the texts listed in the catalog of the exhibition "20 years of Mayakovsky's work", as well as texts, autographs or versions of which have been preserved in notebooks poet.
All the artists and writers who worked in one way or another on the "windows" of ROSTA and Glavpolitprosveta unanimously declared that Mayakovsky did not draw "windows" on texts that were not written by him. Thus, the texts of the "windows" drawn by Mayakovsky were written by him. This made it possible to increase by more than four hundred the total number of Mayakovsky's texts, the authorship of which was established on completely objective grounds. Convincing evidence that many texts of other "windows" belong to Mayakovsky is provided by their serious stylistic and textual analysis.
In the first posthumous Complete Works of V. V. Mayakovsky (vol. 4, M., 1937), about 300 texts of "windows" were placed. However, it was soon recognized that some of these "windows" did not belong to Mayakovsky, so in the second complete collection they were not included in the poet’s works (vol. 4, M., 1949), but the number of texts of the “windows”, whose belonging to Mayakovsky was proved by this time, increased to 562. In the next Complete collection of the poet’s works (vol. 3, M. , 1957) has already included 634 texts of "windows". In this edition, the total number of texts of "windows" belonging to Mayakovsky has increased to 651.
All this speaks of great job, done by the joint efforts of many scientists to identify the texts of the "windows" written by V. V. Mayakovsky, but this work is far from over. Further study is to be done not only of each unnamed text of the "windows", but also of those texts whose authorship is doubtful. The search for those "windows" that have not yet been discovered will continue.
In his articles devoted to the "windows of satire", Mayakovsky gives the names of other people who worked on the drawings and texts of the posters. However, their participation in this case was far from equal.
Mayakovsky was greatly assisted in his difficult work on the "windows" by people who were really close to him - his mother and sisters. In their person, he constantly found support and complete mutual understanding, the most practical and concrete help.
The elder sister of the poet Lyudmila Vladimirovna Mayakovskaya spoke about this in her memoirs:
“We also got involved in this work. I was well acquainted with this matter in my specialty and invited my brother to take part in the work. Volodya willingly agreed to take me and my sister to Rosta, warning us:
Posters are needed by the deadline, the next day they are not needed. If you can do it, then do it!
We never let him down. For the most part we worked on my brother's drawings and texts - it was easier and dearer.
Volodya gave us his drawings in pencil. They needed to be colored with conditional colors. At first, in his drawings, he indicated the colors of paints for us, and then we learned this symbolism and drew on our own. Stencils were made from these drawings. The hardest part was writing the text. I immediately divided it into two templates, and the drawings were done neatly, without gaps. I still recognize our drawings from the text. My sister had a firm hand, and she cut out templates for drawings, and I - for texts, and then together we reproduced them. It was cold, the smoky stove burned all the time, our mother, who always actively supported us in our work, rubbed the paints and warmed up the glue. We put her to bed with great difficulty, and we ourselves often worked until the morning, quickly hanging drawings around the room to dry, sometimes even covering them with a sleeping mother ...
It was cold, the template did not dry well, the paint dripped onto the next template. But one hundred - one hundred and fifty pieces of posters had to be made from one template! Usually it was three days. The work is very stressful. Then the sister on her back in her backpack carried the posters to Rosta, Rozhdestvensky Boulevard, handed over and received a new order. And again, the whole family got down to business.
We worked with great enthusiasm and rejoiced at the benefits we brought and the fact that we worked together with Volodya. Many years later, my sister sometimes asked me:
Do you know what I would love to do right now?
Growth Posters...
I agreed with her. After all, it was such a great and wonderful work.
V. V. Mayakovsky treated his work in ROSTA with great responsibility.
He was well aware that the "windows" of ROSTA satire were vivid examples of truly revolutionary art, put at the service of the people, who for the first time took power into their own hands. Turning later to the "windows", he proudly wrote: "I had a lot of good and popular poems - they were not included in any collected works" ("Only not memories ..."). And still later, giving a rebuke to the aesthetes, who saw only the "lowness of the propaganda text", "hurriedness", he noted: "Outside the 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 and revolutionized taste, raised the qualifications of poster art, the art of agitation. If there is a thing called "revolutionary style" in the drawing, it is the style of our windows "(" I ask the word ... ").
The "windows" of ROSTA satire played a big role in the development of Soviet satire, contributed to the formation of Soviet satirical journalism, and the education of numerous personnel for this press. "Windows" of ROSTA satire Mayakovsky twice called the ancestors of all Soviet satirical magazines ("I ask for words ...", "Windows of ROSTA satire").
Mayakovsky also emphasized that the work on the "windows" played a huge role in his creative evolution, in the development of a new poetic style. Evaluating the collection "Terrible Laughter", prepared by him in 1929 for publication and compiled from the texts of the "windows of satire", he wrote in the preface: "For me, this book is of great verbal significance, a work that cleansed our language of poetic husks on topics that do not allow verbiage" ("I ask for words ...").
Mayakovsky considered the collection Terrible Laughter a manual that would prepare Soviet readers for new battles with the enemies of the Soviet system. A little more than ten years have passed, and Mayakovsky's menacing laughter, his famous "windows" of satire ROSTA were adopted by the entire Soviet people, brought to life numerous "Windows of satire TASS" and front-line "windows of satire", which, like their predecessors, played a big role. role in the national struggle against fascism.
The glorious traditions of the "windows" of ROSTA satire, their wealth of experience turned out to be very fruitful in the practice of today's agitation and propaganda work, whether it be questions of international politics or issues of industrial propaganda. Mayakovsky's menacing laughter, his famous "windows of satire" have long since crossed the borders of our country and have been adopted by the communists of foreign countries, the best representatives of the creative intelligentsia of the whole world, fighters for a better future for their peoples.
This volume includes the texts of the "windows" written by Mayakovsky from the autumn of 1919 to January 1922. They are arranged in chronological order in two main sections: "Windows" ROSTA (1919-1921) "and" Windows "Glavpolitprosveta (1921-1922)".
The texts for the "windows" were independently selected, which were made by Mayakovsky and his comrades by order of the Central Committee of the Union of Miners in late January - early February 1921. They are also arranged in chronological order.
The texts of the "windows", made in September 1921 by order of Gubrabis - the Moscow Gubernia Trade Union Council of Art Workers - are given on a par with the "windows" of the Main Political Education.
The volume opens with texts for posters, which made up the album "Heroes and Victims of the Revolution", and the book "Soviet ABC". The work on these books, which were published before the appearance of the first "Windows" of ROSTA satire, played, according to Mayakovsky himself, a big role in his work, in the development of a new type of propaganda poster and, above all, "windows" of ROSTA satire.
The texts of the "windows" revised by Mayakovsky in 1929 for the collection "Terrible Laughter" are highlighted in an independent, final section of the volume.
Texts are given with a breakdown of lines by frames in accordance with the number of figures in the "window". Obvious typographical and stencil errors, corrected earlier, and also noticed by us, are discussed in the notes.
The notes indicate: 1) the sign of the issuing "company" - "Rosta", "Glavpolitprosvet", "Department of Prod. Prop. of the Central Committee of Miners", "Gubrabis"; 2) the number of the "window" or, when the number is missing (not affixed, lost as a result of defects, not read accurately), the appropriate explanation enclosed in square brackets; [Growth b/No.], [Growth No.?]. Growth No. 553 (or 558); 3) approximate or exact (if it is indicated on the "window" or confirmed by documentary sources) date of issue of the "window"; 4) sources of the text (originals, photographs, screen prints, autographs, typewritten original of the collection "Terrible Laughter" prepared by Mayakovsky in 1929) indicating their storage locations; 5) initials and surname of the artist.
The notes indicate only the first lifetime publications of the texts of the "windows", as well as the collection "Terrible Laughter" (M., 1932), prepared by Mayakovsky himself. In some cases, the notes provide historical explanations and references that help to better understand the organic connection of "windows" with the era, their fighting spirit and specific propaganda charge, their pronounced journalistic character. Of particular importance in this regard are the references in the notes to the works of V. I. Lenin and the resolutions of the party and government, which very often were the primary basis for the creation of the "windows" of ROSTA and the Main Political Education.
Accepted abbreviations
GPP - Glavpolitprosvet.
GBL - State Library of the USSR named after V. I. Lenin in Moscow.
GLM - State Literary Museum (Moscow).
GMM - State Museum of V. V. Mayakovsky.
GPB - State Public Library named after M.E. Saltykov-Shchedrin (Leningrad).
State Tretyakov Gallery - State Tretyakov Gallery.
TsGALI - Central State Archive of Literature and Art of the USSR (Moscow).
TsGAOR - Central State Archive of the October Revolution, higher bodies state power and government bodies of the USSR (Moscow).
GRM - State Russian Museum (Leningrad).
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 "on the merger of the Petrograd Telegraph Agency and the Press Bureau under the All-Russian Central Executive Committee" was adopted. 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.
Drying cabinets for clothes and shoes are produced by many companies. Most of Russian market occupied by manufacturers from our country. Here we will consider two brands "KUBAN" (Amparo) and "RShS" from the Moscow plant Rubin. Moscow Production Association Rubin produces both traditional drying cabinets and infrared ones. The production is certified, the products have been on the market for 23 years. ...
Drying cabinets for clothes and shoes
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MAXANTO invites you to watch a video about how a serf talks about the eccentricities of a Hindu master and the mysterious and incomprehensible Samsara! ...
Theater of one actor: a serf, a Hindu master and Samsara
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They say that actors are people who reveal the human essence. Emotions overflowing, pantomime on the verge of a foul. It's all in the video that MAXANTO posted right below this text. ...
Who are you in fact? You have changed?
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Annie Veitch is an artist from Ontario (Canada). Her oil paintings feature female figures. She explores and presents us with the simple beauty of the body, and also tries to convey the range of complex human emotions. ...
Pictures of sleep on the canvases of Canadian Annie Veitch
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The history of the emergence and development of Urdu is extremely interesting. In the ninth century, with the advent of Muslim conquerors in India, the North Indian Hindu language, a developed language with a rich folklore, began to be enriched with many Persian and Arabic words and adopted a somewhat modified Arabic script. ...
India: Urdu (Hindustani)
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When the time comes for the documents to be ready for connecting gas, you need to start choosing a gas boiler. There are a lot of brands of boilers, and in this variety of equipment, you need to choose a boiler that would meet all your requirements. Conversations with neighbors who have had gas connected for a long time, as a rule, do not give anything definite. Everyone tells their stories, who praises the boiler, and who has the third one, and the last one is very good. ...
How to choose a gas boiler, boiler, remote access system, etc.
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Now there are many companies on the Internet that offer their customers a wide range of various products. In this article, we will talk about popular online stores that sell cleaning equipment and machinery. So, top 5: ...
Overview of online stores where you can buy cleaning equipment
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The construction of the Tupden Shedudling temple complex in Otradnoye is going on as usual. The Stupa of Enlightenment has already been built next to the Temporary Stupa. ...
Stupa of Enlightenment of the Tupden Shedubling Temple Complex - Moscow
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The groundlessness of thought haunts me. Radiant boys sing their speeches from YouTube channels, gathering millions of subscribers. Catching my breath, I realized that I did not envy them, but somewhere I even admired them. Just imagine how many people want to learn business and become a "Big Boss". ...
Trainings: how to study so as not to leave disappointed?
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Instructions on how to connect a combined indirect heating boiler to a gas boiler heating system. ...
Connecting a combined indirect heating boiler (BKN) to the heating system of a gas boiler
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The procedure and terms for processing documents and performing work on connecting gas. Provided that there is a gas pipeline near your house. ...
Supplying gas to a private house in the Moscow region, in TSN.
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As soon as the conductor bows to the audience, waves his baton, at the wave of which the red theater curtains swing open and the orchestra enters, you understand: this is Imre Kalman. His music, solemn and eternal, takes you to the wonderful world of Viennese operettas, even if they are now called musicals. ...
Princess of the Circus of the Moscow Musical Theater
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New clip of Queen with vocals by Freddie Mercury for the song All Dead, All Dead from the album News of the world. ...
New clip of Queen with vocals by Freddie Mercury
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On October 12, 2017, the Central Bank of Russia presented banknotes, whose face value is 200 and 2000 rubles. ...
The Central Bank introduced new banknotes of 200 and 2000 rubles
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Scientists believe that the first clock was created and made public property by the ancient Greeks. In order for the townspeople who lived in ancient Athens not to feel out of time, special people scurried through the streets of the city, for a small fee this moment is the mark of the shadow of the sundial. ...
Who Invented the Clock? Invention history
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"The bath heals the soul", so they said in Russia, and they were right. You can remember how in the film "Midshipmen", the Frenchman, who decided to go to the Russian steam room, shouted obscenities in his own language and fled in disgrace from the walls of the holy place. For a Russian, a bath is a part of his life. In the bath, a person cleanses the body and soul after a week of work. ...
Bath for body and soul
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Sleepwalking, sleepwalking is a special state of sleep, observed more often in children and adolescents. With sleepwalking, a disorder of consciousness is noted, accompanied by automatic complex actions during a night's sleep. ...
Sleepwalking
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Traditionally, in the northern countries, a stove was used to heat the house in cold weather, while in the south they were content with fireplaces. So it was until recently, when some manufacturers created a symbiosis of a stove with a fireplace, which combined the aesthetics of an open fire and the warmth of a real stove. We will talk about the Swedish manufacturer KEDDY, which for the third decade has been producing a whole range of stoves with supercassettes - fireboxes closed with glass, through which you can watch how the fire devours firewood. ...
Swedish stoves-fireplaces Keddy Maxette
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Land registration and country house property on a plot intended for housing construction (if it is not a garden or dacha partnership) From 01/01/2017, instead of a certificate of registration of land rights, a new document has been introduced, called "extract from the USRN" (single state register real estate). The composition of the extract from the USRN includes: an extract from the USRR (rights) and the state real estate cadastre. ...
Registration of a land plot and a country house in ownership
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After watching the show Just the Same, where Gennady Khazanov acts as a judge, one gets a painful impression. Looking at him, you can decide that the era of acting is over. That is why the MAXANTO correspondent was wary of the performance of the Anton Chekhov Theater "Dinner with a Fool"; what was his surprise when he delivered a verdict that Khazanov, perhaps, was the only one who "inherited" the enchanting manner of playing with strokes, a little bit, characteristic of Arkady Raikin. And he not only inherited it, but carried it through the thickness of decades, without spilling the liquid from this precious vessel at all. ...
Dinner with a Fool - Gennady Khazanov
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There is such an anecdote when a monk knocked on the door of a woman for the night. The woman set a condition for the overnight stay: drink with her, eat meat or spend the night. The monk refused, but there was little choice, otherwise he would have frozen at night, as he was in the mountains, where there was snow. And the monk agreed to drink some wine with her. And only after drinking, he ate meat, and after that he had already slept with her. ...
Confessions of a vegetarian or how I started eating meat again
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Moscow. The Red Square. How much has been said, how much has been written. Military parades have been and are taking place on Red Square, people are going to meet Lenin in the mausoleum. Still, a miracle, what if they remove it soon? ...
Moscow. The Red Square. Summer 2017.
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On May 31, on the eve of summer, a MAXANTO correspondent attended a club meeting held by Andrey Veselov on the topic: " Strategic changes: awaken the power of 5P!" ...
Strategic Changes: Awaken the Power of 5P
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Those who are used to looking at their feet in the summer know that in nature, and in the urban jungle, a lot of different beetles crawl on the ground. At the same time, sometimes we don’t even somehow think about the fact that some species are listed in the Red Book ... One of the endangered species is the Caucasian ground beetle ...
Caucasian ground beetle - a beetle from the Red Book
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Many people think about building a country house. What to pay special attention to during its construction and installation of engineering communications? Where to begin? ...
Mistakes in the construction of a country house
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A plant is being built in Kaliningrad, where it is planned to produce automatic boxes. According to the business plan, the production area will be 80,000 square meters, and the planned production volume should reach 30,000 ACPs per year. ...
KATE: Russian automatic transmissions
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Elon Musk proposes a radical solution - the construction of new subway lines specifically for cars. At first glance, this looks futuristic and not feasible. But let's digress for a moment and remember that Elon Musk's other equally plausible project - Hyperloop (the construction of pipes in which trains will move at speeds of over 1200 km / h) is already being implemented. Therefore, let's see how the developers see the underground for cars. ...
Subway for cars
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Installing a heating element in a Baxi Premier Plus indirect heating boiler
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The first UAZ DEVOLRO will be ready in early July 2017! Orlov outlined the date for the appearance of the first car in the United States. UAZ DEVOLRO will be available for the first time to see (and buy) in July 2017! The price will depend on the configuration, starting from $15,000 and up to $35,000. ...
The first UAZ DEVOLRO will be available for purchase in early July 2017
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Today, dispensers are no longer amazing devices. In many apartments and country houses, their use has become commonplace. However, among the general population there is still no complete confidence that they are really needed. Moreover, the phrase “food waste grinder” is sometimes confusing, because it’s not entirely clear why grind something at all? ...
Disposers Bone Crusher and InSinkErator
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It is known that there are no two identical people in nature. Even doppelgangers, on closer inspection, are not at all identical. Nature has laid down an innumerable variety of species, which, ultimately, is an element of evolution. Surely many paid attention to the fact that everything in a person is different: even ears. So, there are several classifications of auricles. Of course, when it comes to personal identification, first of all, we mean the identification of corpses in forensics. So, according to the Ministry of Internal Affairs, every year more than twenty thousand (!!!) unidentified corpses are found in the country. Therefore, this problem is of interest to a greater extent to experts in the criminal investigation department. ...
Personal identification by auricles in forensics
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Caterpillars are known pests. Of course, then they will become butterflies and, although they will remain the same harvest destroyers, they will acquire a certain colorfulness and delight the eye. As for their forerunner - caterpillars, or, as they are also called, larvae, they do not cause sympathy. Although some representatives are definitely photogenic. ...
Caterpillars are phytophages that eat leaves
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In addition to Russia and Europe, "agile lizards" live even in the north-west of Mongolia. However, perhaps it was from Mongolia that they came to Russia along with the hordes of Genghis Khan! Look at the two maps - the habitat of the "agile lizards" and the delineated border of the Mongol Empire - they overlap. There is an alternative opinion that this is no accident. ...
The Path of the Lizard: From Mongolia to Europe
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Ipoh is a city in Malaysia that began to develop rapidly at the turn of the 19th century. Now it is home to over seven hundred thousand inhabitants, surrounded by modern buildings. However, the buildings of the colonial era have also been preserved. Quite interesting are the graffiti on the walls of the old town (Old town), which were created by Ernest Zakharevich. The drawings appeared after the artist's trip around the country. This is how such images as "pedicab", "old man with a cup of coffee", "children on a paper airplane", "tea bags", "girl on a stool" and "hummingbird" turned out. ...
Graffiti on the walls of Ipoh, Malaysia
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MAXANTO correspondents attended the training "103 new chips active sales”, which was held by the famous sales coach Dmitry Tkachenko. ...
103 new features of active sales
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Today, the international publication motor1.com published a series of photos of the "mysterious prototype of a large sedan." The pictures were taken by the publication's photographers during sea trials on one of the frozen lakes in Sweden. And if some foreign readers are not quite familiar with the design of the future presidential limousine, which should be ready for the upcoming inauguration in 2018, then MAXANTO readers can easily guess under the camouflage the future limousine of the AURUS brand, and not at all Rolls-Royce or Bentley. ...
Test of the presidential limousine (project "Cortege") in Sweden
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They say you can't teach how to trade. But it's not. For example, recently deceased David Rockefeller Sr., despite the inherited capital, studied at the London School of Economics and Political Science. Moscow has been hosting the Sales and Marketing 2017 conference organized under the auspices and with the direct support of B2Bbasis for several years now. MAXANTO correspondents visited this interesting event to get acquainted with all the current trends in the field of marketing and promotion of services to the market. ...
Sales and Marketing - 2017: This Year's Trends
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When Jean-Claude Van Damme showed the splits on two moving Volvo trucks, the world choked with applause. But the Van Damme video is far from the first time artists have shown stretching between moving objects. Of course, the first to show people such tricks were circus performers. MAXANTO managed to find a photo of Vladimir Durov's students. In all likelihood, the picture dates from the 60s of the last century. In the photo - circus performer Vladislava Varjakoienė. ...
Twine on elephants, trucks, motorcycles
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Over the past decade, Satoshi Saikusa has created a number of projects that touch on topics such as night, memory and the fragility of being. Whether he works in a series of portraits, still lifes or installations, a Buddhist concept runs through all his work, according to him. impermanence - with an emphasis on memento mori. ...
Photographer Satoshi Saikusa: themes of death, birth and sleep
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Eva Green is the fatal beauty from the latest reboot of the James Bond films. The same Vesper Lind, who left scars on the heart of agent 007. We will not speculate on the attractiveness of this woman. Today MAXANTO will show you the images she created in collaboration with Japanese photographer Satoshi Saikusa. ...
Eva Green: Bond girl in a Japanese lens
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Of course, we will not be original if we say that praying mantises are alien creatures. Of course, they live on Earth and are very common on it. But take a closer look at them: didn’t American film studios copy and copy their heads, creating their films about terrible aliens from outer space? Looking at them, only one thing calms: praying mantises are small insects. If you imagine that they would be at least the size of a cat or a dog, we assure you, when you meet them, you would feel uncomfortable. ...
Praying mantises: fiends from another planet?
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The performance is conceptual, however, as well as the place where it is performed - after all, the Zuev House of Culture is one of the most striking and well-known monuments of constructivism in the world. But today we are not talking about that. The fact is that Oleg Dyachenko's film "Faster Than Rabbits" is completely devoid of a video sequence about phobias from the play, which immediately seems to decapitate the narrative. Comic episodes with Hamlet and in the Third Reich also deserve attention. MAXANTO invites you to watch episodes that were not included in the film. ...
Faster than rabbits: phobias, Hamlet, Pinocchio and the Third Reich
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