Introduction Joseph Stalin is perhaps one of the most important and discussed people in Russian history. He was arguably a feared tyrant cursed and despised by many. At the same time, one finds sufficient evidence for the adoration and worship of Stalin that used to exist in the minds of the citizens of the Soviet Union. One reason for this worship was the existence of the so called ‘Cult of Personality’ where Stalin was celebrated as a wise leader, father of all people, and the architect of victory of the Second World War. In his book, The Stalin Cult: A Study in the Alchemy of Power, Jan Plamper states that Stalin’s cult of personality was largely a visual phenomenon. This statement formed the basis of this essay, which seeks to explore “To …show more content…
Many works have been written on Stalin’s cult of personality, but none of them seemed to focus on the role of paintings specifically. This topic is thus worthy of investigation as it might shed a new light on Stalin’s cult of personality in terms of the visual arts. It is also worthy of investigation in general because his cult of personality was not an isolated phenomenon, but rather a phenomenon that has existed around many of the world leaders, and continues to exist around some today. Therefore, it is interesting to investigate the relative importance and influence of the visual arts, especially painting, in one of such cults as it may allow for the extrapolation of the conclusion to many others. Following the recommendation of Anita Pisch, Stalin’s image will be divided into three main parts that Pisch in her book The Personality Cult of Stalin in Soviet Posters refers to as archetypes. The archetypes analysed in this essay will be Stalin as ‘the wise leader’, as ‘the father of all people’, and as ‘the generalissimo’. To answer the research question, several academic works including those of Jan Plamper and Anita Pisch will be investigated, and paintings by the prominent Socialist Realism artists Deineka, Laktionov, Gerasimov and Vladimirskiy will …show more content…
Therefore, despite the horrors of Stalin’s regime, one could argue that the socialist realism paintings could ‘mould the consciousness of the people’ into believing that Stalin was a great and wise leader, a kind and humble man, and the father of all Soviet people, thus reinforcing his cult of personality that tries to portray him in that light. However, while art might have the power to do this, one must not forget about other visual representations of life such as photographs and posters. Their relative power and influence will be discussed later in the
The Russian government treated the working class terribly, leading to several protests and boycotts. S.I. Somov was a Russian Soviet who shared his emotions on his overwhelming experience in the demanding Soviet working class. At a protest, he wrote that there was a “...mystical, religious ecstasy...” that peppered the angry workers who fought for their freedom from the exhausting chains of overwhelming labor and inhumane working conditions (Document 4). He added that the working class was deprived of a lively human soul, and their bitterness and dissatisfaction had “overflowed.” Somov was a worker himself, who first hand experienced the cruelty described and developed his own reasonable emotions towards the topic.
Process of Findings The first part of this report will discuss the evidence pertaining to the “genuinely concerned, pragmatic” side to Joseph Stalin’s leadership. Stalin was a leader who was honoured and praised by many of his people in the USSR for various reasons. He was portrayed on propaganda posters as a kind, caring and genuinely concerned leader particularly towards children who were the future of the USSR (Source A). By Stalin being portrayed as a leader who shows genuine concern and care for the children of his country, it propagates the message that children and the entire population of the USSR will have an “enlightened future” under his leadership13 (Source A), and would in turn help Stalin gain more support for himself.
Fear of communism had been steadily growing in the west; many feared there would be an attempted invasion. He related to the people’s fears by speaking on this same issue. Everyone was worried about this same thing, and this is where he gathered a worldwide following. Solzhenitsyn had shown the evils of communism, and gave many a cause to fight against it. To solidify the need for action in the people’s minds, however, Solzhenitsyn next had to go beyond emotions.
Based on soldiers’ memoirs published decades after the Stalin’s era and augmented by articles from official newspapers, interviews, letters diaries, and official documents in Russian archives, Krylova first traces the historical background of which highly
Art sees Vladek as someone who is better than him at everything because of the fact that he survived Auschwitz. Vladek is depicted as a resourceful and intelligent hero of the story. He always manages to barter ways to get better treatment for himself and his wife Anja. He saves up money in order to survive and protect his wife and also claims that he is really lucky. The older Vladek telling the story though is weak and has a heart problem.
In Dear Comrade Editor, different voices, opinions towards Stalin and his ideologies are presented. Some people, of course, response to Khrushchev’s speech: “You want to weep with despair when you hear people demand that all this be consigned to oblivion, people who try to justify Stalin’s crimes and sing his praises whenever they can.” (Riordan&Bridger 31) “Even before I never understood and I condemned those young people who had parted ways with their parents when the latter were arrested, so why am I now being called upon to betray my commander and to spit on him?” (33) Instead of supporting Stalin, this WWII veteran is confused by the shift in ideologies. He represented many average Soviet people, the confusion and hopelessness.
Some of these people that Stalin used terror and or death on include thousands of people who didn’t believe the same things he did and Lenin's closest and favorite workers and or helpers ("Stalin, Joseph (Iosif Vissarionovich Dzhugashvili; 1878–1953)"). There were many major leaders that knew Stalin would have you killed or put in jail without even thinking about it. In the book "Stalin's ism" the author Gary Saul Morson explains how Stalin would have his own soldiers and officers killed if the crosses him wrong. The author Morson says this quote about Stalin, "“was the relative ease with which Stalin could foist the bloodbath upon the political police, army, party-state, cultural elites, and indeed the entire country” (Morson). Joseph Stalin gained control over the people of the Soviet Union by showing extreme discipline through terror and death and promoted
Another piece of evidence, provided by Spartacus Educational” shows that Stalin deeply cared about the cause he was involved in, even getting sent to an Imperial Russian prison because of it. It reads, “On 18th April, 1902, Stalin was arrested after coordinating a strike at the large Rothschild plant at Batum and sent to Kutaisi Prison.” It is insane that Stalin participated willfully in something that would land him in prison, once again showing just what kind of man he was, and to what lengths he was willing to go to promote his
By taking advantage of this anger, the author stirred up a strong sense of pride through invoking patriotism. The final goal of these emotions is to mask his blaming of unconnected parties, the Jews and Marxists. With pathos, he successfully caused the lapses in his logic to go by unnoticed and he further built his
The influence of propaganda on the development of art in the 20th century Europe of the 20th century underwent a number of important social, political and economical changes. In an age marked by the rise of nationalism and the two World Wars, by overwhelming scientifical and technological innovation, the arts were facing many challenges caused by the tensions and unrest characteristic for this period of time. With ideologies such as Communism in Russia, Fascism in Italy and Hitler 's Nazism in Germany spreading rapidly through Europe, their propaganda reached the world of art, having a great impact on both the artist and the artwork. This article takes a closer look at the relationship between propaganda and art in the context of a war dominated society, disclosing the diverse façades of ideological influence on the world of arts. Understanding the historical context is a vital condition for a deeper comprehension of the development of arts, when it is so closely tied to the social, political and economical factors.
Media has always been present in our lives and most milenials have grown up with their parents teaching them not to always believe in what they see in an advertisement. Advances in technology in the 80s created a huge impact on this and the TV industry as a whole. With cable TV beginning to contribute to the internalization of media and advertisements, this allowed cable networks with direct access to people in their homes creating whole new form of culture in the way we live. Because of this, consumerism became a significant part of our culture, a culture we’re too familiar with today. Directional Carpet, a piece by Joanne Tod created in 18__ expresses the changes that were occurring during this period with its relation to advertising, the
I started looking for Alexander Etkind’s “Warped Mourning. Stories of the Undead in the Land of Unburied” in Kyiv’s bookstores right after I’d finished the “Portraits in the Barbed Frame” by Vadim Delaunay. The autobiographical fictionalised diary of Delaunay's journal goes back to the beginning of the 1968 protest in Red Square, where young people under the slogan “For your freedom and ours” came out to protest against the Soviet invasion of Czechoslovakia. In my mind, the pictures from the "Portraits" went side by side with the letters and news reports from the Crimean political prisoners - Kolchenko and Sentsov. And at some point, very clearly, I sensed the need to look at this from the perspective of history, including the main themes of the “Warped Mourning” and
Akhmatova’s melancholic diction initially reveals her sorrow, but the tone transitions to serious and introspective when she uses allusions to religious martyrdom and imagery of fixed objects. These contemplations are later resolved when she integrates imagery of liberation to portray an ultimately triumphant and optimistic outlook towards the future. Within the first sections, Akhmatova employs melancholic diction to convey her grief. In “Prologue,” she writes “that [Stalin’s Great Purge] was a time when only the dead could smile” (Prologue, Line 1), which suggests it was preferable to die than to live and emphasizes her despondency.
Over the week, we have seen how artists convey revolutionary messages to the public, the era of Enlightenment created a wave of social and political change in the 18th and 19th centuries. It comes to mind the painting of Joseph Wright of Derby who painted a philosopher giving a lecture at the orrery in 1765 (Khanacademy.org n.d). Painting of this nature gives a compelling message of social development to the public; it’s a common scenario these days depending from which perspective we look at it. In this essay, I will discuss how usual art conveys messages these days as oppose to 18th and 19th century period. Body.