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The poster is one of the most lively and, at the same time, the most complex areas in graphic design, in art. The Soviet poster is a truly unique phenomenon, and in different years the authors of famous posters were outstanding Soviet artists, leading people of their time.
The best artists of their time worked on propaganda posters, famous poets wrote slogans - thus, unique graphic schools were formed. Nowhere in the world did they teach the poster purposefully and systematically, as it was in the USSR.
Rare Soviet posters today have to be searched for in different countries of the world. It's a paradox, but what was created in only a few copies and is known only to collectors is sometimes easier to find than what was produced in thousands of copies. Of the millions of campaign posters that have adorned the streets, classrooms, classrooms and hospital corridors for many decades, only a few have survived.
Posters of the Soviet era are not only original works of graphic art, antiques and antique graphics, original retro gifts and interior items, but also truly historical documents.
SIZE – 36 / 24 INCHES OR 90 / 60 CENTIMETERS
1972
SLOGAN : FOR PEACE IN THE WORLD!
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ITS IN VERRY GOOD AND SAVED CONDITION. IF YOU HAVE ANY QUESTIONS OR NEED MORE INFORMATION, WRITE ME. PERFECT FOR COLLECTION, PRESENT, DECORATION, USE.
THE PAINTER IS
Briskin Veniamin Markovich (1906−1982)
Briskin Veniamin Markovich (September 27, 1906, Romny, Poltava province - March 28, 1982, Moscow) - Soviet graphic artist, author of posters and political cartoons. Honored Artist of the RSFSR (1967).
Born in 1906 in the city of Romny, Poltava province.
He studied at the Kharkov Art Institute (1921-1925) with Semyon Prokhorov and Mikhail Sharonov.
In the 1920s he painted for the Kharkov magazine “Uzh”.
Since 1926, he has been exhibited at the following exhibitions: “Ukrainian book graphics in Kharkov” (1929), “Exhibition and viewing of works by young artists” (1936), All-Union art exhibitions (1949, 1952, 1954, 1955, 1957, 1961, 1965, 1967) , “Exhibition of Soviet Posters” (1950), etc. Personal exhibitions were held in Moscow (1958, 1965, 1968, 1977), Belgorod (1968).
In 1932 he moved to Moscow. He worked in the satirical magazine "Crocodile" (1932-1933), the newspapers "Komsomolskaya Pravda" (since 1934), "Pravda" (since 1956). He worked on book and magazine graphics for Military Publishing House.
During the Soviet-Finnish War (1939-1940) he worked in the newspaper “On Guard of the Motherland” of the Leningrad Military District.
Since 1943, he painted for the front-line newspaper “For the Honor of the Motherland” of the Voronezh Front, then for the 1st Ukrainian Front; was engaged in the preparation of front-line TASS Windows. He walked with the army all the way from the Kursk Bulge to Berlin. After the war, while remaining in the army, he collaborated on the same newspaper, which has now become the organ of the central group of troops, the editorial office of which was based in Vienna.
n 1950 he returned to Moscow, where he continued to work in Moscow newspapers and magazines.
In 1950-1970 he was engaged in book graphics, in particular, he prepared illustrations for books by Maxim Gorky, Konstantin Simonov, Boris Laskin, Mark Twain and other authors. He created posters for the Agitplakat association, including the thematic series “Chatter, gossip - into the hands of the enemy” (1954), “Don’t be like that” (1956), etc.
Benjamin Briskin died in 1982. The urn with ashes was buried in the columbarium at the Vagankovskoye cemetery.
early years Veniamin Briskin was fond of drawing from a young age. During the Civil War, two Moscow artists came to Romny - the realist Nikolai Mikhailovsky and the futurist Boris Komarov. Helping the artists, Briskin began to draw posters for the Red Army units located in the city and prepare decorations for the local club. His successes impressed Muscovites so much that they insisted that Veniamin go to receive an art education at VKHUTEMAS. There was a famine in Moscow during these years and Mashkov, whom Briskin met in Moscow, recommended returning to Ukraine - to the Kharkov Art Institute. While studying at the institute, Veniamin Briskin began preparing illustrations for the Kharkov magazine “UZH”. Having received the qualification of an artist and a rank, Veniamin Briskin went as part of a creative team to Donbass, where he prepared posters, decorations and paintings[1].
Creation
At the age of twenty, Veniamin Briskin took part in his first major art exhibition. He presented several sketches from the album, among which the most striking was a portrait of a street child[1].
In the late 1920s, Briskin prepared illustrations for the first Soviet editions of “The Adventures of the Good Soldier Schweik.”
In 1932, after Briskin moved to Moscow, his caricatures, satirical drawings, and illustrations for stories were regularly published in Krokodil, Smena, Komsomolskaya Pravda, and 30 Days. For him, this became a serious school of political journalism.
In 1933, Veniamin Briskin’s cartoon “The Apogee of Fascism” was published in Komsomolskaya Pravda. Rising above the sea of blood, from which only the sharp spiers of sunken buildings protrude, the thick-bellied figure of a fascist executioner is piled against the background of a gray, alarming sky. The shadow from the visor of a paramilitary cap falls on the forehead, resembling bangs, eyes white with rage, a funny square of mustache above the lip - the appearance of a fascist is both terrible and disgusting. The stormtrooper clearly looked like Hitler, who had recently come to power in Germany, and therefore permission from the People's Commissariat of Foreign Affairs was required to publish the cartoon in the central newspaper. On the back of the drawing, People's Commissar Litvinov put his signature. This was one of the first caricatures of Hitler to appear in the Soviet press[1].
On the pages of the front-line newspaper of the Leningrad Military District “On Guard of the Motherland” dated December 31, 1939 it was reported: “The special correspondent of our Direct Fire department, Vasya Terkin, who is in the forefront, is preparing material that will be published here in the near future.”[2 ]. Thus, the editors of the newspaper introduced their readers to a character who very quickly fell in love and became a real hero who went along with the soldiers until the end of the Finnish campaign. As Tvardovsky noted, much of the merit of such success lay precisely in the drawings of Briskin and Fomichev[3][4]. For each issue of the newspaper, artists prepared a series of drawings, then poets got involved, including N. Shcherbakov, N. Tikhonov, A.. Tvardovsky, Ts. Solodar and S. Marshak. In 1940, the team published the brochure “Vasya Terkin at the Front.” Marshak even wrote, at Tvardovsky’s request, a humorous biography of Vasya Tyorkin for the collection “Adventures.” But when in 1941 German troops began a rapid offensive deep into the USSR, the image of the cheerful boy Vasya Terkin lost relevance - it simply did not fit with the atrocities reported by front-line reports. So the baton passed to Tvardovsky and his more famous work “Vasily Terkin”, on whose new matured and matured image Orest Vereisky worked very successfully.
During the war, Veniamin Briskin combined the weapons of a Red Army soldier and a satirist. Service in a front-line newspaper taught him to navigate any situation with lightning speed, choose the sharpest turn of a topic, and find intelligible and clear means of expression. After the war, he prepared an album of his drawings for publication - from it it is easy to trace the stages of the fight against fascism, which the artist waged on the pages of military newspapers. In his newspaper drawings, Briskin skillfully picked up the mood that dominated the mass of soldiers at one time or another. When the end of the war became obvious, heroic notes began to sound more and more insistently in Briskin’s drawings. The barrels of heavy guns are expressive, taken from below from a sharp angle, aimed at the fascist lair. When S. Gerasimov and A. Deineka, who were in post-war Vienna with one of the first foreign exhibitions, came to the House of Officers and a mass of sharp, always aimed, militant works of the artist appeared in front of them on the walls and tables, Deineka could not resist exclaiming: “Not maybe one person did it all!”[1]
In 1947 he created the series “Post-War Europe”.
In 1956, Veniamin Briskin and Konstantin Ivanov created the first satirical propaganda poster, which, like its predecessors ROSTA Windows of Satire and TASS Windows, was hung in one of the shop windows on Gorky Street in Moscow. Thus was born the propaganda poster workshop, of which Briskin became the chief artistic editor[5]. Later in 1966, the editorial board was headed by Boris Efimov.
In 1959, Briskin published the book “Experience in Working on a Propaganda Poster.”
In the 1960-1970s, his works intensified the monumentality and generalization of forms, but even during this period, his posters stood out for their sharpness, attention to detail and technical perfection. During these years, he fruitfully collaborated with Konstantin Ivanov and created several posters together with Pyotr Karachentsov. The most famous are Briskin's posters on the topic of foreign policy, which sharply and humorously ridiculed the vices of capitalist society.
Awards
In 1970, at the International Exhibition “Satire in the Struggle for Peace” in Moscow, he received the Gold Medal of the Soviet Peace Fund.
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