Regulations on holding a city competition of posters (puzzles) for schoolchildren of the city “My Army is the strongest”, dedicated to the Day of Defenders of the Fatherland. Posters from the Great Patriotic War

The past 2010 was a military year for me. As I wanted, into the new year 2011 I took with me only good memories of the army, and left all the bad ones in the past. After the army, I still have a lot of photos, a lot of friends with whom I can chat and remember fun moments, I still have a uniform that I sometimes want to wear or have a photo shoot. But I managed to take with me something else that refreshed my memories of the army and my army activities. I was able to take home all the wall newspapers that I drew and wrote in the army! In principle, I’m glad that in the army there was an opportunity to express myself creatively. Sometimes this activity saved me when everyone was sent out to do something in the cold, and I was sent to draw a wall newspaper. Sometimes it was very out of topic when I was already tired, and the wall newspaper also needed to be completed. Then it was postponed until the end, and then, in an emergency mode, the newspaper was drawn up “to hell with” in one day. And sometimes, but rarely, we systematically made this work of art for a couple of weeks and then it turned out really well!)) Of course, my friends helped me, but for the most part all the wall newspapers were made by me. Some I did from start to finish myself, and in some I trusted someone to finish drawing something, write text when I felt lazy or didn’t have time. As soon as I got into my battalion, and I was transferred from training on January 13, they discovered the main artist in me and the task was set - to prepare a wall newspaper for February by February 1! I approached the first newspaper especially scrupulously and it turned out to be the best. Here she is:

Each newspaper had a theme, usually related to some date falling in that month. The first is dedicated to Defender of the Fatherland Day. There is also a historical text on this topic. But the other sections of the newspaper were always the same and were copied from newspaper to newspaper almost without changing.))

The second newspaper is dedicated to the Spetsstroy of Russia - the troops in which I served. Russian Special Construction Day March 31st. Those who actually prepared the newspaper should be listed in the “editorial board” section. But for the most part I prepared them and I had to add various comrades there. Some did not deserve to be written there, but they had to write. For example, senior conscription soldiers who made wall newspapers before me. As soon as I appeared, their participation in this activity decreased to a minimum. And even when I asked for help, they often neglected the wall newspaper, because they didn’t care about demobilization)) This newspaper didn’t come out very well. Who doesn’t understand, in the picture there are structures built by Spetsstroy, and at the top this gray oblong crap is a submarine))

April newspaper on the topic "Cosmonautics Day" Gagarin is not like that. There was no inspiration))

The May newspaper is, of course, dedicated to Victory Day.

And this issue is dedicated to the opening on the territory of our part of the monument - a bust to the hero of the Soviet Union Alexander Sidorovich Mnatsakanov - a tankman who fought along the entire front, including on our Leningrad soil. Then for the first time I became too lazy to redraw from the picture, so I printed out a photograph of the monument in the required size, traced the outline through carbon paper and painted it over. Freeloader!)) Also pay attention to the “Military Discipline” section. All the newspapers there wrote the same type of nonsense, that everything was fine and discipline was in order. But here we had to redo it, because the officers rejected it. That month, 2 soldiers from our company were sent to prison for drinking in the hospital. And we wrote that discipline couldn’t be cooler))

If I remember exactly, this newspaper was made in 1 day. It was lazy and the heat was terrible. We didn't want to do anything then. Petya is very funny here))

August newspaper for Builder's Day. All newspapers also had to conform to a template and rules. Made in the same color scheme, field sizes, etc. In general, maximum suppression of creative outpourings. Army fuck! In this newspaper, a violation of the rules - the crane covers the entire sheet, goes beyond the field allocated for the drawing. Our battalion educational officer rejected it and told us to redo it. The idea, which the boys and I liked, had to be defended by the deputy commander of the unit for educational work, a lieutenant colonel. He liked it and the tap stayed!))

But there was no September newspaper. The unit ran out of Whatman paper. The command offered to buy at its own expense, but was told to screw it!))

October. Signalman's Day. The drawing is also a carbon copy.

I didn’t pick up the November newspaper because it was hanging on the stand, and I quit on December 1st. I didn't make a newspaper for December. Scored. Why am I not demobilized or what? those who stayed said that someone was forced to do it))
Well, this is me with my masterpiece:

Many thanks to my friends: Vitka, Dimka, Leshka, Vasya and Tolyan, who really often helped make newspapers.
Well, this is already jokes.

But we also live in wartime! And today our country is occupied by the enemy and is being plundered. Russian culture is being destroyed, the national spirit is being replaced by greed, conscience is being driven underground.

Yes, today is also war time. War, however, is different. Then it was clear who the enemy was and where he was. Today the enemy does not invade our land with machine guns, tanks and cannons. It uses different methods and has more long-term goals than simple military occupation.

Nowadays, the enemy uses weapons that are less flashy, almost invisible, but no less effective. They are trying to dehumanize a Russian person, as is already happening in the West, to change his essence, to deprive him of spiritual support, to expel conscience from his soul and to leave only a human shell, ideally stuffed with gadgets. For ease of control and slow but steady killing. Influencing through the soul and genes on future generations, which, according to the enemy’s plan, should not be born at all.

But we remember and honor the exploits of our ancestors. Which give us strength and confidence that we will drive the enemy out of the Russian land and celebrate the victory over the adversary, no matter what guise he may appear in!

Our cause is just, we will win!

The first poster thesis (now it would be called a slogan) was a phrase from Molotov’s speech on June 22, 1941: “Our cause is just, the enemy will be defeated, victory will be ours.” One of the main characters of the war poster was the image of a woman - mother, Motherland, friend, wife. She worked in the rear at the factory, harvested, waited and believed.

“We will mercilessly defeat and destroy the enemy,” Kukryniksy, 1941

The first military poster, pasted on the walls of houses on June 23, was a sheet of artists Kukryniksy, depicting Hitler, treacherously breaking the non-aggression pact between the USSR and Germany. (“Kukryniksy” are three artists, the name of the group is made up of the initial letters of the surnames of Kupriyanov and Krylov, and the name and first letter of the surname of Nikolai Sokolov).

“The Motherland is Calling!”, Irakli Toidze, 1941

The idea of creating the image of a mother calling her sons for help arose by chance. Hearing the first message from the Sovinformburo about the attack of Nazi Germany on the USSR, Toidze’s wife ran into his workshop shouting “War!” Struck by the expression on her face, the artist ordered his wife to freeze and immediately began sketching the future masterpiece. The influence of this work and the song “Holy War” on people was much stronger than the conversations of political instructors.

“Be a hero!”, Viktor Koretsky, 1941

The slogan of the poster became prophetic: millions of people stood up to defend the Fatherland and defended their freedom and independence. In June 1941, Koretsky created the composition “Be a Hero!” The poster, enlarged several times, was installed along the streets of Moscow, along which columns of mobilized city residents passed in the first weeks of the war. In August of this year, the “Be a Hero!” postage stamp was issued. Both on the stamp and on the poster the infantryman is depicted wearing a pre-war SSh-36 helmet. During the war, helmets were of a different shape.

“Let's have more tanks...”, Lazar Lisitsky, 1941

Excellent work by the outstanding avant-garde artist and illustrator Lazar Lisitsky. Poster “Let's have more tanks... All for the front! Everything for victory!” was printed in thousands of copies a few days before the artist’s death. Lissitzky died on December 30, 1941, and the slogan “Everything for the front!” throughout the war was the main principle of the people remaining in the rear.

“Warrior of the Red Army, save!”, Viktor Koretsky, 1942

A woman, holding her child close to her, is ready with her breasts and her life to protect her daughter from the bloody bayonet of a fascist rifle. One of the most emotionally powerful posters was published with a circulation of 14 million. The front-line soldiers saw in this angry, disobedient woman their mother, wife, sister, and in the frightened, defenseless girl - a daughter, sister, a Motherland drenched in blood, its future.

“Don’t talk!”, Nina Vatolina, 1941

In June 1941, the artist Vatolina was asked to graphically design Marshak’s famous lines: “Be on the lookout! On days like these, the walls listen. It’s not far from chatter and gossip to betrayal,” and after a couple of days the image was found. The model for the work was a neighbor with whom the artist often stood in line at the bakery. The stern face of a woman unknown to anyone became for many years one of the main symbols of a fortress country located in a ring of fronts.

“All hope is in you, red warrior!”, Ivanov, Burova, 1942

The theme of revenge against the invaders became the leading one in the work of poster artists at the first stage of the war. Instead of collective heroic images, faces that resemble specific people come first - your girlfriend, your child, your mother. Take revenge, free, save. The Red Army was retreating, and women and children who remained in enemy-occupied territory silently cried out from the posters.

“Avenge the grief of the people!”, Viktor Ivanov, 1942

The poster is accompanied by Vera Inber’s poems “Beat the Enemy!”, after reading which, perhaps, no words are needed...

Beat the enemy so that he becomes weak

So that he chokes on blood,

So that your blow is equal in strength

All my motherly love!

“Fighter of the Red Army! You will not let your beloved be disgraced”, Fyodor Antonov, 1942

The enemy was approaching the Volga, a huge territory was occupied, where hundreds of thousands of civilians lived. The heroes of the artists were women and children. The posters showed misfortune and suffering, calling on the warrior to take revenge and help those who are unable to help themselves. Antonov addressed the soldiers on behalf of their wives and sisters with a poster: “...You will not give up your beloved to the shame and dishonor of Hitler’s soldiers.”

"My son! You see my share...", Antonov, 1942

This work has become a symbol of the people's suffering. Maybe mom, maybe an exhausted, bloodless Motherland - an elderly woman with a bundle in her hands, who is leaving a burnt village. She seemed to stop for a second, lamenting sadly, she asks her son for help.

“Warrior, answer the Motherland with victory!”, Dementy Shmarinov, 1942

The artist very simply revealed the main theme: the Motherland grows bread and puts the most advanced weapons into the hands of a soldier. A woman who assembled a machine gun and gathered ripe ears of corn. A red dress, the color of the red banner, confidently leads to victory. The fighters must win, and the home front workers must provide more and more weapons.

“A tractor in a field is like a tank in battle,” Olga Burova, 1942

The bright, optimistic colors of the poster assure that there will be bread and victory is just around the corner. Your women believe in you. There is an air battle in the distance, a train with fighters is passing, but the faithful girlfriends are doing their job, contributing to the cause of victory.

“Red Cross warriors! We will not leave either the wounded or his weapon on the battlefield,” Viktor Koretsky, 1942

Here a woman is an equal fighter, nurse and savior.

“We drink the water of our native Dnieper...”, Viktor Ivanov, 1943

After the victory in the Battle of Stalingrad, it was obvious that the advantage was on the side of the Red Army. Artists were now required to create posters that would show the meeting of the liberators of Soviet cities and villages. The successful crossing of the Dnieper could not remain aloof from the artists.

“Glory to the liberators of Ukraine!”, Dementy Shmarinov, 1943

The crossing of the Dnieper and the liberation of Kyiv is one of the glorious pages in the history of the Great Patriotic War. Mass heroism was adequately appreciated, and 2,438 people were awarded the title of Hero of the Soviet Union. For crossing the Dnieper and other rivers, and for the feats accomplished in subsequent years, 56 more people received the title of Hero of the Soviet Union.

“Join the ranks of front-line girlfriends...”, Viktor Koretsky, Vera Gitsevich, 1943

The front needed reinforcements and female forces.

"You gave us life back"Victor Ivanov, 1944

This is how a Red Army soldier was greeted - like family, like a liberator. The woman, unable to hold back her outburst of gratitude, hugs the unfamiliar soldier.

“Europe will be free!”, Victor Koretsky, 1944

By the summer of 1944, it became clear that the USSR could, on its own, not only expel the enemy from its land, but also liberate the peoples of Europe and complete the defeat of Hitler’s army. After the opening of the Second Front, the topic of the joint struggle of the Soviet Union, Great Britain and the United States for the liberation of all of Europe from the “brown plague” became relevant.

“We have one target - Berlin!”, Viktor Koretsky, 1945

There is very little left. The goal is close. It is not for nothing that a woman appears next to the soldier on the poster - as a promise that they will soon be able to see each other.

“We reached Berlin”, Leonid Golovanov, 1945

Here is the long-awaited victory... The posters of the spring of 1945 breathe spring, peace, and the Great Victory! Behind the hero’s back is visible a poster by Leonid Golovanov “Let’s get to Berlin!”, published in 1944, with the same main character, but so far without an order.

Natalia Kalinichenko

Position

about holding a city poster (puzzle) competition

schoolchildren of the city “My Army is the strongest”,

dedicated to the Day of Defenders of the Fatherland.

City poster competition " My Army is the strongest" is aimed at establishing in the minds of young people civil, patriotic, universal values, respect for traditional Russian norms of morality and ethics, for the cultural and historical past of Russia.

General provisions of the competition.

MBOU DOD "House of Pioneers and Schoolchildren" in Nazarovo is holding a city poster (puzzle) competition "My Army is the strongest", dedicated to Defender of the Fatherland Day. Each piece of the puzzle will be parts of a single art object, which will be created and presented to the public of our city.

The competition is held in two stages: inside educational institutions (on standard Whatman paper) and city (in the form of puzzles).

Purpose of the competition:

Formation of a socially active personality of a citizen and patriot with a sense of national pride, love for the Fatherland and one’s people.

Competition objectives:

· To form patriotic feelings based on studying the historical past of Russia, its role in the destinies of the peoples of the world.

· Create conditions for students to express themselves through visual arts.

Competitors:

Students from city schools in grades 1-11 and additional education institutions can take part in the competition.

Stages and timing of the competition:

In-school stage: from February 1 to February 10,

City stage: from 11 to 17 February.

Requirements to fragment design

1. The base of the fragment is made on 5mm fiberboard measuring 50x50cm. The edges must be processed without rounding or cutting. It is recommended to sand the material with sandpaper to give it a light shade.

2. The fragment should depict a version of a child’s vision of the manifestation of patriotism, respect for traditional Russian norms of morality and morality.

3. To design the fragment, it is not allowed to use three-dimensional compositions, fabric, any type of paper, names or names, or symbols of the school organization. The image should be flat and colorful. The drawing is made with bright colors (acrylic paints, spray can, etc.) or burned out.

4. After applying the design, the fragment must be covered with transparent varnish.

5. On the reverse side you need to attach a passe-partout, size 10x3, indicate

· school

· Class

Description of the art object:

1. The art object will be made in the form of a prefabricated puzzle wall, which is formed from 12 fragments.

2. The basis of the art object will be a wooden frame with sectors in which puzzle fragments will be placed.

3. An educational institution will accept 1 fragment (puzzle) of a common art object.

Criteria for evaluating the works of the competition

Compliance with the design requirements and theme of the competition

Colourfulness;

Creativity

Mastery of performance.

Financing of the competition

Intra-school stage at the expense of the educational institution, city stage at the expense of the MBOU DOD "DPiSh".

Awarding the competition participants

The winners of the competition are awarded diplomas for 1st, 2nd, 3rd place.

The jury of the competition is formed by the organizing committee and is not announced in advance.

Address of the competition organizing committee

Puzzle fragment must be brought from 11 to 17 February 2014 at the address: st. Arbuzova no. 000 "A", tel.-65-89, MBOU DOD "House of Pioneers and Schoolchildren", in, teacher - organizer Valentina Petrovna Mikhailova.

Soldiers fought on the fronts, partisans and scouts fought in occupied territory, and home front workers assembled tanks. Propagandists and artists turned pencils and brushes into weapons. The main objective of the poster was to strengthen the faith of the Soviet people in victory. The first poster thesis (now it would be called a slogan) was a phrase from Molotov’s speech on June 22, 1941: “Our cause is just, the enemy will be defeated, victory will be ours.” One of the main characters of the war poster was the image of a woman - mother, Motherland, friend, wife. She worked in the rear at the factory, harvested, waited and believed.

“We will mercilessly defeat and destroy the enemy,” Kukryniksy, 1941

“The Motherland is Calling!”, Irakli Toidze, 1941

“Be a hero!”, Viktor Koretsky, 1941

“Let's have more tanks...”, Lazar Lisitsky, 1941

“Warrior of the Red Army, save!”, Viktor Koretsky, 1942

“Don’t talk!”, Nina Vatolina, 1941

“All hope is in you, red warrior!”, Ivanov, Burova, 1942

“Avenge the grief of the people!”, Viktor Ivanov, 1942

The poster is accompanied by Vera Inber’s poems “Beat the Enemy!”, after reading which, perhaps, no words are needed...

Beat the enemy so that he becomes weak

So that he chokes on blood,

So that your blow is equal in strength

All my motherly love!

“Fighter of the Red Army! You will not let your beloved be disgraced”, Fyodor Antonov, 1942

"My son! You see my share...", Antonov, 1942

“Warrior, answer the Motherland with victory!”, Dementy Shmarinov, 1942

“A tractor in a field is like a tank in battle,” Olga Burova, 1942

“Red Cross warriors! We will not leave either the wounded or his weapon on the battlefield,” Viktor Koretsky, 1942

Here a woman is an equal fighter, nurse and savior.

“We drink the water of our native Dnieper...”, Viktor Ivanov, 1943

“Glory to the liberators of Ukraine!”, Dementy Shmarinov, 1943

“Join the ranks of front-line girlfriends...”, Viktor Koretsky, VeraGitsevich, 1943

The front needed reinforcements and female forces.

"You gave us life back"Victor Ivanov, 1944

This is how a Red Army soldier was greeted - like family, like a liberator. The woman, unable to hold back her outburst of gratitude, hugs the unfamiliar soldier.

“Europe will be free!”, Victor Koretsky, 1944

“We have one target - Berlin!”, Viktor Koretsky, 1945

There is very little left. The goal is close. It is not for nothing that a woman appears next to the soldier on the poster - as a promise that they will soon be able to see each other.

“We reached Berlin”, Leonid Golovanov, 1945

“We Waited,” Maria Nesterova-Berzina, 1945

The front-line soldiers returned home with the consciousness of their own dignity as people who had fulfilled their duty. Now the former soldier will have to restore the farm and establish a peaceful life.

The father met the hero-son,

and the wife hugged the husband,

and the children look with admiration

for military orders.

It is not for nothing that propaganda and agitation were called the third front of the Great Patriotic War. It was here that the battle for the spirit of the people unfolded, which ultimately decided the outcome of the war: Hitler’s propaganda was also not asleep, but it was far from the sacred wrath of Soviet artists, poets, writers, journalists, composers...

The Great Victory gave the country a reason for legitimate pride, which we, the descendants of the heroes who defended their hometowns and liberated Europe from a strong, cruel and treacherous enemy, feel.
The image of this enemy, as well as the image of the people who rallied to defend the Motherland, is most clearly represented on wartime posters, which raised the art of propaganda to unprecedented heights, unsurpassed to this day.

Wartime posters can be called soldiers: they hit the target, shaping public opinion, creating a clear negative image of the enemy, rallying the ranks of Soviet citizens, giving rise to the emotions necessary for war: anger, rage, hatred - and at the same time, love for family threatened by the enemy, to one’s home, to the Motherland.

Propaganda materials were an important part of the Great Patriotic War. From the first days of the offensive of Hitler’s army, propaganda posters appeared on the streets of Soviet cities, designed to raise the morale of the army and labor productivity in the rear, such as the propaganda poster “Everything for the front, everything for victory”!

This slogan was first proclaimed by Stalin during an address to the people in July 1941, when the situation was difficult along the entire front, and German troops were rapidly advancing towards Moscow.

At the same time, the famous poster “The Motherland Calls” by Irakli Toidze appeared on the streets of Soviet cities. The collective image of a Russian mother calling on her sons to fight the enemy has become one of the most recognizable examples of Soviet propaganda.

Reproduction of the poster “The Motherland is Calling!”, 1941. Author Irakli Moiseevich Toidze

The posters varied in quality and content. German soldiers were portrayed as caricatures, pitiful and helpless, while the Red Army soldiers demonstrated fighting spirit and unbroken faith in victory.

In the post-war period, propaganda posters were often criticized for excessive cruelty, but according to the recollections of war participants, hatred of the enemy was the help without which Soviet soldiers would hardly have been able to withstand the onslaught of the enemy army.

In 1941-1942, when the enemy was rolling in like an avalanche from the west, capturing more and more cities, crushing defenses, destroying millions of Soviet soldiers, it was important for propagandists to instill confidence in victory, that the fascists were not invincible. The plots of the first posters were full of attacks and martial arts, they emphasized the nationwide nature of the struggle, the connection of the people with the party, with the army, they called for the destruction of the enemy.

One of the popular motives is an appeal to the past, an appeal to the glory of past generations, reliance on the authority of legendary commanders - Alexander Nevsky, Suvorov, Kutuzov, heroes of the civil war.

Artists Viktor Ivanov “Our truth. Fight to death!”, 1942.

Artists Dmitry Moor “How did you help the front?”, 1941.

"Victory will be ours", 1941

Poster by V.B. Koretsky, 1941.

To support the Red Army - a mighty people's militia!

Poster by V. Pravdin, 1941.

Poster by artists Bochkov and Laptev, 1941.

In an atmosphere of general retreat and constant defeats, it was necessary not to succumb to decadent moods and panic. There was not a word about losses in the newspapers at that time; there were reports of individual personal victories of soldiers and crews, and this was justified.

The enemy on the posters of the first stage of the war appeared either depersonalized, in the form of “black matter” bristling with metal, or as a fanatic and marauder, committing inhumane acts that caused horror and disgust. The German, as the embodiment of absolute evil, turned into a creature that the Soviet people had no right to tolerate on their soil.

The thousand-headed fascist hydra must be destroyed and thrown out, the battle is literally between Good and Evil - such is the pathos of those posters. Published in millions of copies, they still radiate strength and confidence in the inevitability of the defeat of the enemy.

Artist Victor Denis (Denisov) “The “Face” of Hitlerism”, 1941.

Artists Landres “Napoleon was cold in Russia, but Hitler will be hot!”, 1941.

Artists Kukryniksy “We beat the enemy with a spear...”, 1941.

Artist Victor Denis (Denisov) “Why does a pig need culture and science?”, 1941.

Since 1942, when the enemy approached the Volga, besieged Leningrad, reached the Caucasus, and captured vast territories with civilians.

Posters began to reflect the suffering of Soviet people, women, children, old people on the occupied land and the irresistible desire of the Soviet Army to defeat Germany and help those who are unable to fend for themselves.

Artist Viktor Ivanov “The hour of reckoning with the Germans for all their atrocities is near!”, 1944.

Artist P. Sokolov-Skala “Fighter, take revenge!”, 1941.

Artist S.M. Mochalov “We will take revenge”, 1944.

The slogan “Kill the German!” spontaneously appeared among the people in 1942, its origins, among others, in Ilya Erengburg’s article “Kill!” Many posters that appeared after her (“Dad, kill the German!”, “Baltic! Save your beloved girl from shame, kill the German!”, “Less Germans - victory is closer,” etc.) combined the image of a fascist and a German into one object of hatred.

“We must constantly see before us the image of a Hitlerite: this is the target at which we must shoot without missing, this is the personification of what we hate. Our duty is to incite hatred of evil and strengthen the thirst for the beautiful, the good, the just.”

Ilya Ehrenburg, Soviet writer and public figure.

According to him, at the beginning of the war, many Red Army soldiers did not hate their enemies, respected the Germans for their “high culture” of life, and expressed confidence that German workers and peasants had been sent to arms, just waiting for the opportunity to turn their weapons against their commanders.

« It's time to dispel illusions. We understood: the Germans are not people. From now on, the word “German” is the most terrible curse for us. …If you haven’t killed at least one German in a day, your day is wasted. If you think that your neighbor will kill a German for you, you have not understood the threat. If you don't kill the German, the German will kill you. ...Don't count the days. Don't count the miles. Count one thing: the Germans you killed. Kill the German! - this is what the old mother asks. Kill the German! - this is the child’s prayer to you. Kill the German! - this is the cry of the native land. Don't miss. Do not miss. Kill!”

Artists Alexey Kokorekin “Beat the fascist reptile”, 1941.

The word “fascist” has become synonymous with an inhuman killing machine, a soulless monster, a rapist, a cold-blooded killer, a pervert. The sad news from the occupied territories only reinforced this image. The fascists are depicted as huge, scary and ugly, towering over the corpses of innocent victims, pointing weapons at mother and child.

It is not surprising that the heroes of war posters do not kill, but destroy such an enemy, sometimes destroying them with their bare hands - heavily armed professional killers.

The defeat of the Nazi armies near Moscow marked the beginning of a turn in military fortunes in favor of the Soviet Union.

The war turned out to be protracted, not lightning fast. The grandiose Battle of Stalingrad, which has no analogues in world history, finally secured strategic superiority for us, and the conditions were created for the Red Army to launch a general offensive. The mass expulsion of the enemy from Soviet territory, which the posters of the first days of the war repeated, became a reality.

Artists Nikolai Zhukov and Viktor Klimashin “Let’s Defend Moscow,” 1941.

After the counter-offensive at Moscow and Stalingrad, the soldiers realized their strength, unity and the sacred nature of their mission. Many posters are dedicated to these great battles, as well as the Battle of Kursk, where the enemy is caricatured and his aggressive pressure, which ended in destruction, is ridiculed.

Artist Vladimir Serov, 1941.

Artist Irakli Toidze “Let’s Defend the Caucasus”, 1942.

Artist Victor Denis (Denisov) “Stalingrad”, 1942.

Artist Anatoly Kazantsev “Do not give up a single inch of our land to the enemy (I. Stalin)”, 1943.

Artist Victor Denis (Denisov) “The Red Army has a broom, it will sweep away the evil spirits to the ground!”, 1943.

The miracles of heroism shown by citizens in the rear were also reflected in poster subjects: one of the most common heroines is a woman who replaced men at the machine or driving a tractor. The posters reminded us that a common victory is also achieved through heroic work in the rear.

Artist unknown, 194x.

In those days, posters were also needed by those who lived in the occupied territories, where the content of posters was passed on by word of mouth. According to the recollections of veterans, in the occupied areas, patriots pasted panels of “TASS Windows” on fences, barns, and houses where the Germans stood. The population, deprived of Soviet radio and newspapers, learned the truth about the war from these leaflets that appeared from nowhere...

“TASS Windows” are political propaganda posters produced by the Telegraph Agency of the Soviet Union (TASS) during the Great Patriotic War of 1941–1945. This is a unique type of mass propaganda art. Sharp, intelligible satirical posters with short, easy-to-remember poetic texts exposed the enemies of the Fatherland.

“TASS Windows,” produced since July 27, 1941, were a formidable ideological weapon; it was not without reason that Propaganda Minister Goebbels sentenced in absentia to death all those involved in their release:
“As soon as Moscow is taken, everyone who worked at TASS Windows will hang from lampposts.”

More than 130 artists and 80 poets worked at TASS Windows. The main artists were Kukryniksy, Mikhail Cheremnykh, Pyotr Shukhmin, Nikolai Radlov, Alexander Daineka and others. Poets: Demyan Bedny, Alexander Zharov, Vasily Lebedev-Kumach, Samuil Marshak, poems by the late Mayakovsky were used.

In a single patriotic impulse, people of various professions worked in the workshop: sculptors, painters, painters, theater artists, graphic artists, art critics. The group of artists at TASS Windows worked in three shifts. During the entire war, the lights in the workshop never went out.

The Political Directorate of the Red Army made small format leaflets of the most popular “TASS Windows” with texts in German. These leaflets were dropped into the territories occupied by the Nazis and distributed by partisans. The texts, typed in German, indicated that the leaflet could serve as a surrender pass for German soldiers and officers.

The image of the enemy ceases to inspire horror; posters call to reach his lair and crush him there, to liberate not only your home, but also Europe. The heroic people's struggle is the main theme of the military poster of this stage of the war; already in 1942, Soviet artists grasped the still distant theme of victory, creating canvases with the slogan “Forward! To the west!".

It becomes obvious that Soviet propaganda is much more effective than fascist propaganda, for example, during the Battle of Stalingrad, the Red Army used original methods of psychological pressure on the enemy - the monotonous beat of a metronome transmitted through loudspeakers, which was interrupted every seven beats by a commentary in German: “Every seven seconds one German soldier dies at the front." This had a demoralizing effect on the German soldiers.

Warrior-defender, warrior-liberator - this is the hero of the poster of 1944-1945.

The enemy appears small and vile, this is a predatory reptile that can still bite, but is no longer capable of causing serious harm. The main thing is to completely destroy it, so that you can finally return home, to your family, to a peaceful life, to the restoration of destroyed cities. But before that, it is necessary to liberate Europe and repel imperialist Japan, to which the Soviet Union, without waiting for an attack, itself declared war in 1945.

Artist Pyotr Magnushevsky “Formidable bayonets are getting closer and closer...”, 1944.

Reproduction of the poster “The Red Army is facing a threatening step! The enemy will be destroyed in its lair!”, artist Viktor Nikolaevich Denis, 1945

Reproduction of the poster "Forward! Victory is near!" 1944 Artist Nina Vatolina.

“Let's get to Berlin!”, “Glory to the Red Army!” - the posters rejoice. The defeat of the enemy is already close, time demands life-affirming works from artists, bringing closer the meeting of the liberators with the liberated cities and villages, with the family.

The prototype of the hero of the “Let's get to Berlin” poster was a real soldier - sniper Vasily Golosov. Golosov himself did not return from the war, but his open, joyful, kind face lives on the poster to this day.

Posters become an expression of people's love, pride for the country, for the people who gave birth to and raised such heroes. The soldiers' faces are beautiful, happy and very tired.

Artist Leonid Golovanov “Motherland, meet the heroes!”, 1945.

Artist Leonid Golovanov “Glory to the Red Army!”, 1945.

Artist Maria Nesterova-Berzina “We waited,” 1945.

Artist Viktor Ivanov “You gave us back life!”, 1943.

Artist Nina Vatolina “Happy Victory!”, 1945.

Artist Viktor Klimashin “Glory to the victorious warrior!”, 1945.

The war with Germany did not officially end in 1945. Having accepted the surrender of the German command, the Soviet Union did not sign peace with Germany; only on January 25, 1955, the Presidium of the Supreme Soviet of the USSR issued a decree “On ending the state of war between the Soviet Union and Germany,” thereby legally formalizing the end of hostilities.

Compilation of material - Fox