Larger Than Life: Soviet Monumental Sculpture in the Stalin Period

In: Experiment


This article considers the proliferation of monuments in the Soviet Union from Lenin’s Plan for Monumental Propaganda in 1918 until Stalin’s death. It examines the artistic climate in which monuments were commissioned and made and explores the relationship between the central city and the provinces in the creation of a Soviet monumental style.

  • 3)

    Nina TumarkinLenin Lives (Cambridge, MA: Harvard Univ. Press1983) 157.

  • 13)

    Vsevolod Azaros“Creative Arts,” in Soviet Fine Artsed. G. Cantereva (Moscow: Progress Publishers1970) 34-47. For the critic Mikhail Ilin’s interpretation of the statue’s success see Document 22 in this volume.

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  • 14)

    Aleksandr Bassekhes“Pamiatniki A. M. Gor’komu,” Iskusstvo (Moscow) 4 (1939) 131-7.

  • 15)

    Mark Neiman“O skul’pture,” Iskusstvo (Moscow) 4 (1939) 84-100.

  • 16)

    Oleg Sopotsinsky comp.Art in the Soviet Union (Leningrad: Aurora1978) 402 466 490.

  • 18)

    Kazakh Art Festival in Moscow in 1934. Cited by Sopotsinsky Art in the Soviet Union 10.

  • 19)

    Aleksandr Zamoshkin“Skul’ptor Ara Sarksian,” Iskusstvo (Moscow) 1 (1949) 55-61.

  • 20)

    SopotsinskyArt in the Soviet Union370.

  • 24)

    Mikhail GuermanArt of the October Revolution (New York: Abrams1979) 32.

  • 25)

    Milan KunderaImmortalité (Paris: Gallimard1990) 139. Kundera compares the thousands of posters of Lenin across the Soviet Union to commercial advertising. He makes much of the power of image-makers and the power of the image to be used in place of ideology which has been reduced to slogans and clichés. He creates a new term—“imagology”—uniting diverse people across vast space with an image.

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