Advertising posters for Rodchenko and Mayakovsky with descriptions. The role of Vladimir Mayakovsky's creativity in the creation of modern propaganda and advertising materials. "Advertising is industrial, commercial agitation! Not a single, even the surest, business moves forward without advertising

IN modern world many advertising authors use old Soviet forms and images in their design, sometimes with changes, and more often almost without altering the original. Mayakovsky's advertising style is especially popular. In our study, we will analyze Vladimir Mayakovsky's "Economic propaganda", the images in his advertising and political posters "ROSTA Windows", and also see the influence of the poet's advertising work on the advertising of our days.

Analysis of "Economic propaganda" as a new genre of commercial and industrial advertising

In early July 1923, Mayakovsky's drawing and verse appeared on the cover of Krasnaya Niva magazine, advertising the products of Mospoligraph, and soon an advertisement for the State General Store, created by Mayakovsky: "Everything that the heart, body and mind requires, everything is provided by GUM." It was from that moment that his active advertising activity began, aimed at commercial and industrial enterprises. He attaches great importance to this work. great importance. Mayakovsky's increased interest in such advertising was due, first of all, to the fact that in the early years of the New Economic Policy the country faced great economic and party-political tasks. Mayakovsky, on the other hand, set himself the goal of improving and improving trade, and a new page appeared in his propaganda and artistic activity - commercial and industrial advertising .. So, Mayakovsky developed such an advertising genre as “economic propaganda”. Mayakovsky V.V. complete collection works in twelve volumes. Volume 8. Agitation posters, slogans, advertising. 1919-1930.-M.: Pravda, 1978, p.173

In Mayakovsky's article entitled "Agitation and Advertising" Mayakovsky V.V. Complete works in twelve volumes. Volume 12. Articles, notes and speeches. November 1917-1930.-M.: Pravda, 1978, p. 184. The poet attaches great importance to just "economic propaganda".

In this article, Mayakovsky calls on the working class, deprived of tools and means of labor, to take an example from the bourgeoisie, that is, from the ruling class, who actively use advertising as a propaganda tool in their activities. effective remedy that breeds competition. “We must not leave this weapon, this trade agitation, in the hands of the Nepachi, in the hands of the foreign bourgeois. In the USSR Sun? should work for the proletarian good. Think about advertising! .- Mayakovsky says and plunges into this business with his head, creating amazing examples of advertising. Mayakovsky's work on commercial and industrial advertising continued until 1930, but it was carried out especially intensively in the first two and a half years (1923-1924). In his opinion, advertising should be varied, interesting and entertaining, it should be done with intelligence, creativity and humor. In Mayakovsky’s article “Agitation and Advertising”, considered by the author, the poet argues that in our country there are practically no institutions that would be engaged in the production of leaflets, announcements, and that in general Soviet Russia officially did not undertake advertising. As an example, he cites such advertising messages of that time: "... Moscow public utilities notify ...", "The Commissioner brings to the attention." The poet comments: “… What bureaucracy - distorts, informs, announces! Who will go to these calls? T?! It is necessary to call, it is necessary to advertise, so that the cripples are immediately healed and run to buy, trade, watch!” Mayakovsky V.V. Complete works in twelve volumes. Volume 12. Articles, notes and speeches. November 1917-1930.-M.: Pravda, 1978, p.82. Here is what Mayakovsky thinks about advertising. It should attract the attention of the public and affect the feelings and mind of a person.

Mayakovsky developed advertising for such enterprises as Mospoligraf, GUM, Mosselprom, Tea Management, Rezinotrest and so on. The poet himself perceived his advertising activities as a continuation of his work. In the article by E.O. Safronova "V. Mayakovsky as the father of Russian copywriting” it was mentioned that some advertising texts were combined into whole “plots” to promote the brand.

Let's take, for example, the cycle devoted to galoshes "Rezinotrest". These humorous advertising texts in the form of verses can be divided into several types according to the audience.

1. Some texts are childish, simple and emotionally oriented:

Rain, rain, pour in vain,

I won't go out without galoshes.

With the help of Rezinotrest

I have a dry place everywhere. Mayakovsky V.V. collected works in twelve volumes. Volume 8. Agitation posters, slogans, advertising. 1919-1930.-M.: Pravda, 1978, p.277

Buy up

oriental people,

best galoshes

brought a camel. Ibid (Appendix 5)

More elegant without galoshes "-

it's a lie.

All elegance

from our galoshes. Ibid

Still others are aimed at promoting Rezinotrest as a global brand. The main product of galoshes are positioned as the salvation of Europe and one of the wonders of the world. Such advertising verses are metaphorical. For example, on one of the advertising posters, the planet Earth is depicted, and above it is a Rezinotrest galosh that protects the USSR and Europe from rain:

Rezinotrest --

protector in rain and sleet.

Without galoshes

sit and cry. Mayakovsky V.V. collected works in twelve volumes. Volume 8. Agitation posters, slogans, advertising. 1919-1930.-M.: Pravda, 1978, p.278 (Appendix 6)

Another poster shows many pairs of galoshes held by two oriental men. The inscription reads:

Galoshes of Rezinotrest --

just delight.

and east. Ibid

Another one interesting page in advertising activities of Mayakovsky, this is work on advertising Mosselprom. What is it? Mosselprom is the Moscow Association of Enterprises. The work on the Mosselprom advertisement lasted about two years, and it is precisely this that takes leading role in terms of scale and creativity, not only in the life of Mayakovsky, but also in the group of artists who also worked on this matter. Mayakovsky headed this team both ideologically and organizationally.

It should be noted that Mosselprom's advertising was very diverse in its subject matter. Customers were encouraged to purchase a variety of products state enterprises, such as table butter and cheap bread, pasta and vermicelli, ham and sausage, fruit water and dry kvass, spices and chocolate, sweets of various varieties, and especially cheap caramel, distributed in the village. Beer from Moscow factories, pipe tobacco and numerous varieties of cigarettes were advertised. The advertising itself and the sources in which it was printed were also diverse. Mosselprom's advertising could be seen in newspapers, on posters, shop windows and banners, on signs of kiosks and shops, on biscuit and candy wrappers, on all kinds of packaging, labels, inserts. All these products were under the "general" advertising slogan that Mayakovsky came up with: "Nowhere but in Mosselprom", which gained great popularity in the country. In Moscow, in the very center, next to the Arbat, there is a unique building - the Mosselprom House, which is a monument to Soviet constructivism and avant-garde. Now on the building you can see the inscriptions “Mosselprom”, “MSNKh”, “Cigarettes”, “Yeast”, “Beer and water” restored in 1997, and Mayakovsky’s famous slogan is repeated several times. (Appendix 7). The author himself highly appreciated his advertising work both in Mosselprom and over all "economic agitation".

In his autobiography "I myself" Mayakovsky writes: "...Despite the poetic hooting, I consider" Nowhere but in Mosselprom "poetry of the highest qualification." Mayakovsky V.V. Complete works in twelve volumes. Volume one. Autobiography "I myself"

It is worth noting that in Mayakovsky's advertising posters, the image of a Soviet person has always been simple, working people in everyday clothes. The first collected works of Vladimir Mayakovsky, published in 1934-1937, combined illustrations by Alexander Rodchenko and the text of the poet. We can say that this collection is a book masterpiece, which uses the achievements of advertising, illustration and poetry. For example, let's take an advertising poster for the magazine "Young Guard". It depicts the figure of a red worker, in whose hands are raised these magazines. Such figures can be observed in the political posters of the ROSTA Window, where Mayakovsky, through such characters, designated goodies. (See 3.2 for details.) It can be said that by taking on advertising work, ROSTA Windows served as an example for him to create commercial advertising. Or, take, for example, the Gosizdat poster, which depicts model Lilya Brik in a red working scarf, which conveys her energy and optimism to everyone looking at this poster. Thus, Vladimir Mayakovsky showed that advertising is close to reality and that any Soviet citizen of the twenties can be depicted on this poster: optimistic, handsome, "building socialism."

Texts for wrappers, advertising posters, boxes, signs, etc. Mayakovsky were of an acutely topical and agitational nature, and it can be seen that for the first time in his work he began to use indirect (hidden) advertising. Consider the advertising text for a product such as caramel.

1. Caramel "Red Moscow".

Texts for candy wrappers were written by Mayakovsky in the second half of November 1923. Each candy wrapper of this series depicts the most remarkable buildings, structures, monuments for Soviet Moscow.

The series consisted of 12 drawings with texts. For example:

Tretyakov Gallery

Merchants ripped off year after year,

Then the pictures were hung in the hall.

Communist call:

Art to the people! -

They took back their wealth. Mayakovsky V.V. collected works in twelve volumes. Volume 8. Agitation posters, slogans, advertising. 1919-1930.-M.: Pravda, 1978, p.203

2. Caramel "Red Army Star".

The press wrote about Mayakovsky's work on a series of these sweets: “Vladimir Mayakovsky is busy composing drawings for wrapping papers for cheap varieties of caramel bought by the village. In addition to the picture, agitation wrappers will contain a couplet "(" Last news", April 14, 1924) Mayakovsky V.V. collected works in twelve volumes. Volume 8. Agitation posters, slogans, advertising. 1919-1930.-M.: Pravda, 1978, p.204. For example:

If there is danger at the front,

our defense is the Red Army. (Appendix 8)

Open your eyes wider to the West

a thunderstorm may come from the west. (Annex 9)

Let us note that in these poems and drawings, Mayakovsky glorifies the exploits of the Red Army in the civil war, calling for strengthening the defense capability of the Land of Soviets in order to be ready to defend against new enemies.

3. Caramel "Our industry".

On the caramel wrappers of this series, heavy industry products that were produced in the USSR are depicted. These drawings illustrated the text (as usual in verse), which was distinguished by its pathos.

The sight of such advertising brought up the people in the spirit of Soviet patriotism and made them proud of their country for labor successes. Just like the Krasnaya Moskva caramel, the Our Industry caramel advertising series consisted of 12 drawings with texts. Eg:

Don't stand by the river

until the gray century -

better cross the bridge

across this river. (Annex 10)

Pan took whiskey:

mess, -

caught in a vice

bourgeoisie. (Annex 11)

4. Caramel " New weight” and “New measures”

Texts for candy boxes and candy wrappers were written by Mayakovsky between December 1923 and April 1924 and illustrated by him. The texts and drawings of this series "New Weight" promoted new metric measures of weight and volume, and explained their relationship. The candy wrappers of the New Measures series were numbered and subdivided into two series, the A series and the B series. The first promoted a new metric measure of length, the second - the area. A few examples of New Weight caramel:

Kilogram

Not to understand that would be shameful:

a thousand grams is a kilogram.

Look, a kilogram is drawn there,

two and a half is equal to pounds. (Annex 12)

You don't have to be smart either.

to measure liquid in liters.

For simplicity, remember:

in one bucket of liters - a dozen. (Annex 13)

Caramel "New measures". Series "A":

Centimeters too.

Easy to measure with palms.

So that I could measure 10 centimeters,

put your hand not along, but across?

Remember also (no difficulty):

10 centimeters is one decimeter.

Series "B":

Remember right away, do not stand open:

a kilometer is approximately equal to a verst.

Those who seek accuracy

in a kilometer - a thousand meters.

For this kilometer

carry the goods, whistling in the wind. Mayakovsky V.V. collected works in twelve volumes. Volume 8. Agitation posters, slogans, advertising. 1919-1930.-M.: Pravda, 1978, p.205

Reading the texts by Vladimir Mayakovsky for candy wrappers of the New Weight and New Measures series, one involuntarily recalls the state program of Soviet Russia - the Elimination of Illiteracy, which was initiated by the decree of the Council of People's Commissars "On the Elimination of Illiteracy in the RSFSR" dated December 26, 1919. According to it, the entire population of Soviet Russia aged 8 to 50 years old, who could not read or write, was obliged to learn to read and write in their native language or in Russian (optional). Library of Siberian local lore. (Electronic resource). Access mode: http://bsk.nios.ru/enciklodediya/likvidaciya-negramotnosti-likbez (Last access date: 10.02.15)

From this it should be said that Mayakovsky fought illiteracy through his advertising texts. Caramel series "New Weight" and "New Measures" has become a kind of source of information about new metric measures of weight, volume, length, area, taken to replace the old measures. Mayakovsky's advertising provides information about the world and the processes taking place in it to a wide audience plain language, is unobtrusive. The poet understood the power of commercial and industrial agitation and the importance for her country. Creating his advertising texts, he not only advertised the product, but informed citizens and residents of the country about the power and strength of the state, his advertising was in the spirit of that time.

A century ago in Western Europe and the United States, advertising developed at a rapid pace, while in the USSR it was just in its infancy. One of the first and most famous "copywriters" of the 1920s was Vladimir Mayakovsky- the author of not only wonderful poems and plays, but also brilliant advertising posters. His works have become classics of Soviet advertising art and a significant milestone in the history of 20th century posters.

In the USSR, there was no urgent economic need for advertising - the monopoly of state enterprises on the production of goods did not imply competition. Soviet advertising differed significantly from the Western one - its main task was agitation and propaganda. It was necessary to convince everyone that Soviet goods were the best. And there are no others for this very reason - why else something when there is the best?

V. Mayakovsky was the author of political, commercial and social advertising. In 1919-1921, during the years of the Civil War and military intervention, he worked at the ROSTA Windows of Satire, the poster department of the Russian Telegraph Agency. The main objective of the satirical posters was to ridicule and destroy the enemies of the young republic and support "Soviet power plus the electrification of the whole country." The first posters were created by hand, then - with the help of stencils.

Since 1923, in collaboration with the avant-garde artist A. Rodchenko, Mayakovsky began to work on commercial advertising. The creative alliance "Advertising Designer Mayakovsky-Rodchenko" creates advertisements for GUM, Rezinotrest, Mosselprom, State Publishing House, Tea Department. The texts of the advertising posters were as concise and catchy as possible, easy to remember and extremely simple – and what else is needed for effective advertising?

The slogan "Nowhere but in Mosselprom" has become a classic, which has entered the national circulation. The author replied to all claims: “Despite the poetic hooting, I consider “Nowhere but in Mosselprom” poetry of the highest qualification.” And if questions arise about the aesthetic value of such poems, then their marketing effectiveness cannot be doubted.

V. Mayakovsky was well aware of the economic necessity of advertising, back in 1923 he wrote: “Usually they think that only rubbish should be advertised - a good thing and so it goes. This is the most wrong opinion. Advertising is the name of the thing. As a good artist creates a name for himself, so he creates a name and a thing for himself. Advertising should endlessly remind of every, even wonderful thing.

No, he was not the first copywriter, as it is now customary to talk about him in the advertising environment. But he was the first copywriter with a name and his own unique style. In the 83 years that have passed since his death, no one has been able to approach him.

To be fair, it must of course be said that advertising was by no means his main activity. And actually his name and style took shape outside of advertising, but what talented person had direct relation to advertising and was a part of its history, gives advertisers the right to be proud and sometimes strive for that simplicity, visibility that distinguished the advertising works of Vladimir Mayakovsky.

Dfor cigarettes "Ira":

Us
left
from the old world
only -
cigarettes "Ira".

"Advertising is industrial, commercial agitation! Not a single, even the most sure, thing moves forward without advertising. It is a weapon that strikes competition. Under the NEP, it is necessary to use all the weapons used by enemies to popularize state, proletarian organizations, offices and products, including advertising!"

Being a master of Soviet photography, Rodchenko was the first to use photography in advertising (for example, the Lengiz poster with Lilya Brik). His work can be considered the beginning of "documentary" advertising, the images of which became a reflection of the needs of his contemporaries.

For GUM:
Everything that requires
stomach,
body or mind,
All
man
provided by GUM.

Nothing
cry at prices -
in GUM, Komsomol members,
in GUM, workers' faculty!

A This already without Rodchenko:

Separate advertising texts of Mayakovsky:

For Mospoligraf:

Eyes open!
Where to begin?
Firstly, in Mospoligraph
all print.
Secondly,
what for
buy ledgers and notebooks from NEPs?
All stationery, graphed and without graphs,
sells Mospoligraf.
Than to look for engravers, pavement dust,
order seals and stamps in Mospoligraf.
And of course,
of course, of course,
in Mospoligraf
buy wallpaper.
Open your eyes and see everything
memorize these three addresses.

Remember -
you broke
wallpaper in the room.
Nothing
stand open.
New buy
we have in the store.

For boxes of caramel "Our industry":

From "Factory Caramel"
we had no losses.
And left and right
praise and glory to her everywhere!
Take this candy
definitely take note:
more famous every hour
on her song wrappers.
This new idea
teaches better than a literate person.
Displaces the regular variety
caramel taste "Factory".
And the village and the factory
the best - this one will be called!

For packaging zebra cookies:

It was hot for the zebra
run only in Africa,
and now it bakes
Mosselprom at the factory.

Looking at that zebra
the Menshevik is annoyed:
Isn't beauty from him
did you take off the striped one?

For Mocha coffee:

Don't go far!
In the blink of an eye
Here
buy
mocha.

For cigarettes "Ambassadorial":

Even children, parting with the pacifier,
smoke
"Ambassador".
New release. The best quality.
snap it up
clean!

For "Tea management":

Cute,
drop your words,
what to me
these songs?
Mchi
as a gift to me teas
Tea management.

Forget fashion! To hell with it!
Demand clothes in Moskvoshvee.
Simple, light, spacious.
...You won't find clothes easier -
Great for practice
And for walking with a sweetheart in the grove.

Mayakovsky, in fact, was advertising agency full cycle. He found clients himself, composed the texts himself, set the price, "punched" the execution of orders for posters, even undertook something like independent marketing research. advertising posters and the texts in his performance went like a conveyor. Advertising pasta, cigarettes, beer, galoshes, sausages, books, Evpatoria dirt - it seems that he didn't care what to advertise. Hyperbolism, directiveness, outrageousness are inherent in all his advertising works.

Here is what he wrote in my memories A. Rodchenko about working with Mayakovsky:

Photo. V.V. Mayakovsky (1893-1930).

The sonorous lines of his poems reflected time itself - formidable and heroic. Open any volume of poems by V.V. Mayakovsky and you will see the young Republic of Soviets blown by the wind of revolution in its big and small deeds.

Actually, there were no small and insignificant cases for V.V. Mayakovsky. A poet of the revolution, he burst into the thick of things - always active, irreconcilable, party-biased in his assessments. The country fought and built. Building tomorrow. But yesterday's world still clung to life, and in order to end it, not only heroic deeds were needed, but also inconspicuous, everyday, sometimes not entirely pleasant, work. Subsequently, V.V. Mayakovsky will speak about it, as always figuratively and succinctly, in his poem "Out loud" (1930):

"For you,

which

healthy and agile

poet

licked

consumptive spitting

rough language of the poster.

V.V. Mayakovsky, making rhymed captions for health education posters, was proud of his work, because he believed that his poetry brings real benefits to people.

1919 The hungry Republic, devastated by a long war, is squeezed by the ring of intervention. Moscow: dangling tram wires, deserted streets. And suddenly an unexpected crowd in front of the windows of an empty store. In the showcase "Windows of satire ROSTA" - multi-picture posters, which the Russian Telegraph Agency began to produce.

Sharp, intelligible, satirical posters with short, easy-to-remember poetic texts exposed the enemies of the young Soviet Republic, covered topical events, illustrated telegrams transmitted by the agency to newspapers. The posters, with the exception of the first, drawn by hand, were made and reproduced with the help of a stencil up to 150 or more copies, then exhibited in shop windows in Moscow and other cities. In the Windows of Satire ROSTA, the traditions of lubok and raeshnik were widely used. The drawings of the “ROSTA Window” (in series up to 12 on one sheet) were distinguished by their underlined simplicity and conciseness visual means(expressiveness of silhouettes, coloring in 2-3 colors). These original satirical and political magazines were made by a small team, the soul of which was V.V. Mayakovsky.

The first "ROSTA Window" was performed in October 1919 by M.M. Cheremnykh. Then V.V. Mayakovsky, I.A. Malyutin, D.S. Moor and others. Kazimir Malevich, Aristarkh Lentulov, Ilya Mashkov and the Kukryniksy also participated in the creation of the ROSTA Windows.

Photo. ROSTA artists. 1919 Vladimir Mayakovsky, Ivan Malyutin, Mikhail Cheremnykh.

"Windows of ROSTA" played a significant role in the development of Soviet fine arts.

Similar "Windows" were also produced in Petrograd (L.G. Brodaty, V.V. Lebedev, A.A. Radakov and others), in Ukraine (B.E. Efimov and others), in Baku, Saratov and others cities.

Rice. "Windows of satire ROSTA".

Rice. Artist A.M. Nurenberg “V.V. Mayakovsky at work in ROSTA.

On "Windows of Satire" Mayakovsky the poet and Mayakovsky the artist worked together, reflecting topical political, economic, sanitary-hygienic and military tasks in poems and drawings. In the article “I ask for words,” written ten years after the creation of the first “Windows”, Mayakovsky recalled how a handful of artists “served a hundred and fifty million people” by hand: “The range of topics is huge. Agitation for the Comintern and mushroom picking for the starving, the fight against Wrangel and typhoid lice ... ". Many posters created by V.V. Mayakovsky, was dictated by concern for public health and were vivid examples of sanitary and educational agitation.

V.V. Mayakovsky considered his work in the ROSTA Windows of Satire to be political, he vividly responded to the first decrees of the Soviet government regarding health issues:

The main anti-epidemic measures are visible on the poster - in the lower third of the picture, a man is generously poured with water from a bucket, two more people are busy washing clothes, and a sanitary doctor is in the background.

- "On the supply of bacteriological institutes and laboratories with materials and equipment necessary for their work" (April 10, 1919);

- "On the fight against typhus on the Eastern and Turkestan fronts" (November 5, 1919);

- "On the provision of the Red Army and civilian population soap” (December 30, 1919);

- "On providing the population of the Republic with baths" (September 30, 1920) and many others.

Rice. "Window of satire ROSTA".

Rice. "Window of satire ROSTA".

The poster depicts the consequences of smallpox - blindness and scarring of the skin of the face, which could have been avoided with the help of smallpox vaccination.

Mayakovsky draws a "Window" called "The New Enemy":

"But vigilantly, comrade,

watch out for trouble

again at the gate she stood:

typhus, hunger and cold - dashing enemies -

here are the new three generals.

Rice. "Window of satire ROSTA".

Rice. "Window of satire ROSTA".

In March-April 1920, the Week of Sanitary Cleaning was held in Moscow. The poet responded to this event with a poster that called for the fight against dirt and devastation.

The next "agitation" is for the May Day holiday:

"Stop, citizen,

GROWTH attention!

What need to do

First of May?".

Of course, to visit the bathhouse, “until I fell ill with a typhoid infection,” and then “celebrate May in such a way that even a speck is not dirty.”

What only did not tell "Windows"! Here they warn about the dangers of drinking raw water, here they offer advice on how to protect themselves from cholera, here is their powerful fire of satire V.V. Mayakovsky brings down the "green serpent" on the fans. Extremely expressive and concise texts are quickly remembered, passed from mouth to mouth.

Rice. "Window of satire ROSTA".

Propaganda of decrees and resolutions of the Council of People's Commissars, the Council of Labor and Defense becomes the main task a team of agitators led by V.V. Mayakovsky. Decrees and other important documents of the Soviet government required detailed explanations. They demanded not only an increase in the verbal and figurative base of the poster, but also a change in the environment for their perception.

V.V. Mayakovsky leaves the telegraph agency for Glavpolitprosvet. "Windows of the Glavpolitprosveta" were made by the same team as the "Windows of Satire ROSTA". V.V. Mayakovsky determined the theme of posters, selected factual material, wrote texts based on it and often made drawings for them, gave assignments to artists, and accepted completed posters from them. He also dealt with the issues of their replication and distribution both in Moscow and in the periphery.

With the departure from ROSTA, not only the workshop changed. Mayakovsky turned out to be “torn out” from the unique atmosphere of creative enthusiasm. There, Mayakovsky was in the thick of life, aware of all the most important events that took place both in the country and abroad, and the very first recipient of all this news. Such advantages were already given by the very specifics of the telegraph agency.

At Glavpolitprosvet, Mayakovsky had to some extent reorganize and set up a local network for the reproduction and distribution of Okon. And this, of course, could not but create its own additional difficulties.

The theme of “Windows” has finally changed, which was identified back in ROSTA shortly after the end of civil wars s. At the end of 1920 and beginning of 1921, the main theme was the struggle for restoration National economy, destroyed during the imperialist and civil wars. In dozens of “Windows”, built on concrete factual material, the labor successes of advanced teams were shown, calls were made to develop competition, strengthen labor discipline, to create shock groups of exemplary work, to show creative initiative.

"Windows of Glavpolitprosveta" parted with shop windows and settled in propaganda centers, clubs, red corners of plants and factories, Red Army barracks and institutions, in rural reading rooms. These multi-frame, 12-16 drawings, posters were designed, as a rule, for a long existence and were close in this respect to printed propaganda posters.

At the same time, these "Windows" continued to retain their great propaganda value. And here the contribution of V.V. Mayakovsky and his comrades in helping the starving in the Volga region. This theme becomes the main one, starting from July 1921 until the termination of work on the release of "Windows". Particular attention was paid to helping starving children. "Windows" urged the citizens of the "productive" provinces to take on the upbringing of the starving and sick children of the Volga region. The Windows of the Glavpolitprosveta were also used for information about the measures taken by the Soviet government, the progressive forces of the world to help the starving.

Poster master, V.V. Mayakovsky, of course, could not ignore the problems in the life of society; the genre of his art, by its nature, was intended to reveal the negative phenomena of social life, to give them a fair assessment, to criticize.

At the same time, the social and cultural achievements could not but be reflected in the "Windows".

In December 1921 - January 1922 V.V. Mayakovsky, busy with other creative plans (including work on printed propaganda posters for Glavpolitprosveta), pays less and less attention to Windows. Their number is sharply reduced. It becomes more difficult to replicate them; multi-frame propaganda posters with extensive text complicated the work of stencilers and type designers.

From the beginning of 1922, the windows of the "Windows of the Main Political Education" ceased to be a political platform.

"Mobilized and called by the revolution", the poet worked for the future, walking "every minute in step" with the whole country. V.V. Mayakovsky was, is and remains a contemporary of many, many generations.