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202:, political unrest grew and the past revolutionary spirit seen in Russian art turned into propagandist work. By the beginning of the 1930s, poster production was strictly reserved for commissioned artists as well as the images, text, and symbols used. Posters made by amateur artists were destroyed and confiscated. In a diary entry by Kulgalina dated 1935, she documented the frustration and difficulty in making posters for Stalin and the government, only for them to be chosen under strict guidelines promoting censorship in her work. Most posters of this time were rejected or sent back for major revision.
186:. Kulagina was never told the truth as to what happened to her husband, believing for the remainder of her life that he had died of a heart attack while imprisoned. In 1989, two years after her death in Moscow, it was discovered that he had been executed by order of Stalin, very soon after his arrest.
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By 1933, propagandist posters had become such a common artform with little room for original pieces. Kulagina states in her diary that, ‘But there is no inventiveness, no creativity. Or formalism is what destroys someone like me? But it seems to me that one always has to look for something pointed —
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As the political environment in Russia began to dissolve in the 1930s, Klutsis and
Kulagina came under increasing pressure to limit the subject matter and humour that they had employed for official posters and graphic work, and their posters came to represent Stalinist visual rhetoric and propaganda
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Following the radical change happening, in 1931 Kulgalina made the piece "International Women
Workers Day–A Battle for the Proletariat" (Mezhdunarodnyiden’ rabotnits—boevoi den’ proletariata), a propagandist poster which commends women in the workforce. She used figurative painting and photomontage
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Within the early formation of Soviet Union, politics was a potent influence on the artistic community, and the art and design produced during this early period is known for its revolutionary zeal and joyous utopianism. With this subject matter, Kulagina's work combined drawing and graphic symbolism
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Her work as a designer began before she graduated the school, with the Soviet
Pavilion at the Pressa exhibition in Cologne including areas which she designed. Later, she worked for IZOGIZ (the State Art Publishing Agency) and VOKS (the All-Union Society of Cultural Relations with Abroad) and VSKhV
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with photomontage techniques (that had been pioneered by her husband). It was a combination that distinctively separated her work from
Klutsis'. Klutsis and Kulagina never worked on projects together, their work was collaborative nevertheless, and was strengthened by one being around the other.
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in 1920 at the urging of teacher Gustav
Klutsis, whom she had recently met. On 2 February 1921, the couple wed and lived together at the school's headquarters. In 1928, Kulagina joined the artists' group October, of which her husband was already a member. In 1930 she designed a poster for
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Kulagina, along with other photomontage artists, experienced a major cutback on poster commissions because of paper and ink shortages. As a result, her work of this time was limited to two colors because each additional color increased the production time.
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began to occur and many civilians were accused of having anti-communist ideals or encouraging the success of the revolution; both
Kulagina’s father and husband were accused. On 17 January 1938, Klutsis was arrested as he prepared to leave for the
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Though
Klutsis and Kulagina are known for these official pieces for the government, they also ran a personal art and photography practice, utilising styles such as superimposition and photomontage, often portraits of each other.
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Klutsis' and
Kulagina's work was complementary, and their style of photomontage combined with graphic work saw them implemented as official revolutionary poster producers for the Communist Party under Stalin.
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362:"Valentina Kulagina. International Women Worker's Day—A Battle Day for the Proletariat (Mezhdunarodnyi den' rabotnits—boevoi den' proletariata) (Poster for International Women Workers' Day). 1931 | MoMA"
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on this poster to portray female soldiers, peasants, farmers, and a group of women in the streets fighting with police.
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and at Izogiz, they like posters that are barely distinguishable from one another.’
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Gustav
Klutsis and Valentina Kulagina: Photography and Montage After Constructivism
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Kulagina left State Free Art
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252:"Valentina Kulagina – 2 Artworks, Bio & Shows on Artsy"
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Klutsis and Kulagina in 1922, photomontage by Klutsis
293:"Mass, Pack, and Mob: Art in the Age of the Crowd"
150:, employing avant-garde techniques combined with
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238:References
198:After the
152:typography
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143:Vkhutemas
129:Biography
74:Vkhutemas
371:23 April
226:See also
52:, Russia
100:Russian
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297:Crowds
158:, and
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373:2021
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190:Work
58:Died
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