View allAll Photos Tagged sovietart
These are the remains of Soviet art on display in the centre of Tbilisi, Georgia. Georgia has been an independent country since the early 1990s after the fall of the Soviet Union.
The Kolkheti relief, also known as the Kutaisi Market relief, is a striking ceramic panel located at the entrance of the Kutaisi Central Bazaar in the city of Kutaisi, Georgia. The artwork, created in 1985, is a high-relief that depicts various historical and mythological figures, as well as individuals who have contributed to the development of the city of Kutaisi.
The panel, which measures an impressive 217 square metres, was created by the Georgian artist Bernard (Franz) Nebieridze (1939-1987) and is the largest relief among the countries of the former Soviet Union. The sculptor began working on the relief in 1982 and continued to work on it until his death in 1987.
While wandering around a back street in Kutaisi, Georgia, I stumbled upon these old Soviet sculptures tucked away in an abandoned corner, long forgotten and yet still exuding a sense of grandeur from the long distant past.
George Orwell's was onto something there. This is part of a large Soviet era wall painting in an old abandoned textile factory. After just seeing 1984 for the first time in 20 years, I can't help to wonder if this Orwellian life has already happened or is about to happen.
Yeritasardakan Metro Station in the centre of Yerevan, Armenia's capital. A classic Soviet metro system, clean and beautiful and with lovely art. It is cheap and still a pride of the city. Yeritasardakan station opened in 1981, one of the original stations of the Yerevan metro system.
The Soviet-Afghan War memorial in the Victory Park in Armenia's capital Yevevan. It's located on "Heroes Alley" where Soviet-era war heroes in Afghanistan back to the 1930s are commemorated by name. I can find no more information about it.
3,762 Armenians fought with Soviet forces in Afghanistan and 128 died. Yet it is dwarfed in the Armenian imagination by the wars of independence and the independence era, existential for national survival and, for Armenians, vastly more deadly. The dead of those wars are not commemorated in the Soviet-era Victory Park, but 11 km away at Yerablur.
I cannot even find details of the sculptor of this memorial or its date of construction, although it is well-kept and I do know Armenian veterans of the Soviet-Afghan War hold an annual commemoration here.
These murals were the remnants of the old Soviet glory days in an abandon textile factory in Veliko Tarnovo.
Two tanks for a display below the feet of the Motherland Statue in the grounds of the Ukrainian National Museum of the History of World War Two.
(from the restaurant's brochure):
The teahouse interior is elaborately decorated. The ceiling and soffit were carved and painted by hand by forty artisans in Tajikistan, using no power tools. The ceiling shows an interesting combination of contemporary Soviet art style with traditional Persian mediums.
The Boulder Dushanbe Teahouse was constructed in Dushanbe, Tajikistan and given to its sister city Boulder, Colorado. The teahouse was deconstructed and shipped in crates to Boulder where it was reassembled. Today, its a unique, privately-owned restaurant that serves over 100 teas and a fusion menu of foods/recipes from many parts of the world.
The Bowl holding the Flame of Glory at the National Museum of Ukraine in the Second World War in Kyiv. This is part of a complex of monumnets to Ukrainians who died during the war.
A frieze depicting the desperate defence of the Soviet Union after Hitler's invasion in May 1941, part of the Alley of Sculptures at the National Museum of Ukraine in the Second World War in Kyiv, which is the main entrance to the site and intended to be a particularly imposing one. It leads through a semi-subterranean tunnel, itself a symbol of the nature of much of Soviet defence during World War Two, with sculptures, mostly haut reliefs, depicting the partisan war, the desperate defence after the Soviet Union in 1941, and the work in factories on the home front.
Illustration for the children's book Sobachki (Little dogs), 1929
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On December 8th, 1991, three elder Communist party members met deep in the woods of Belarus and decided in regard of their careers in politics that it is now their turn to step into the bright light of history by declaring the Soviet Union as dissolved.
Viewed at twilight, the Crossing of the Dnieper Monument and the Flame of Glory Bowl at the Ukranian National Museum of the Second World War in Kiev.
This Crossing of the Dnieper Monument is a classic example of Soviet Art commemorating a key moment in the Soviet recapture of Kyiv and indeed Ukraine in 1943. It is part of a complex of memorial statues and sculptures in the grounds of the museum. Behind is the entrance to the Alley of Sculptures which commemorates aspects of the Ukrainian war effort such as the partisan war, the efforts of factory workers on the home front, and the desperate defence of the Soviet Union after Hitler's invasion in 1941.
In the distance are the enormous tower-block neighbourhoods on the other side of the Dnipro, in less fashionable left-bank Kyiv.
Viewed at twilight, the Crossing of the Dnieper Monument at the Ukranian National Museum of the Second World War in Kiev. This classic example of Soviet Art commemorating a key moment in the Soviet recapture of Kyiv and indeed Ukraine in 1943. It is part of a complex of memorial statues and sculptures in the grounds of the museum. In the distance are the enormous tower-block neighbourhoods on the other side of the Dnipro, in left-bank Kyiv.
Self Portrait ✨
// Kalvatsk’ Persépolis | Arménie 2019
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Joggers and walkers enjoy a summer evening as they pass out of the entrance to the Alley of Sculptures at the National Museum of Ukraine in the Second World War in Kyiv, which is the main entrance to the site and intended to be a particularly imposing one. It leads through a semi-subterranean tunnel, itself a symbol of the nature of much of Soviet defence during World War Two, with sculptures, mostly haut reliefs, depicting the partisan war, the desperate defence after the Soviet Union in 1941, and the work in factories on the home front.
From the unpublished series: ‘Gagarin Monuments’ by René Nuijens.
Photographed on a Leica M6 with 35mm
Viewed the grounds of the Ukrainian National Museum of the History of World War Two, in which it stands, the Motherland Monument (Ukrainian: Батьківщина-Мати, Russian: Родина-мать) is a monumental statue in Kiev, the capital of Ukraine. The sculpture is a part of the National Museum of the History of Ukraine in the Second World War.
The stainless steel statue stands 62 metres tall and sits on the museum’s main building; the overall structure is 102 metres high including its base, and weighs 560 tonnes. The sword in the statue's right hand is 16 metres long and weighs 9 tonnes, with the left hand holding up a 13 by 8 metre shield with the State Emblem of the Soviet Union. Initially the image of the statue was drawn by Yevgeny Vutchetich from Ukrainian painter Nina Danyleiko, after the design was taken over by Borodai from another Ukrainian sculptor Halyna Kalchenko, a daughter of the Prime Minister of Ukraine Nikifor Kalchenko. The sword of the statue was cut because the tip of the sword was higher than the cross of the Kyiv Pechersk Lavra.
In the 1970s, a shipload of Communist Party officials and Soviet sculptor Yevgeny Vuchetich looked across at the hills by the Lavra and decided the panorama needed a war memorial. Vuchetich had designed the other two most famous giant Soviet war memorials, ‘The Motherland Calls’ in Volgograd and the East Berlin sculpture of a Soviet soldier carrying a German infant. Vuchetich died in 1974, however, and the design of the memorial was afterwards substantially reworked and completed under the guidance of Vasyl Borodai.
Final plans for the statue were finalised in 1978, with construction on an expensive and always controversial project beginning in 1979. The statue was opened in 1981 in a ceremony attended by Soviet General Secretary Leonid Brezhnev.
In modern-day Kyiv, the statue remains controversial, with some claiming it should be pulled down and its metal used for more functional purposes. Financial shortages mean that the flame, which uses up to 400 m3 of gas per hour, can only burn on the biggest national holidays, and rumours persist that the statue is built on unstable foundations, something strongly denied by the Kyiv local government.
In April 2015, the parliament of Ukraine outlawed Soviet and Communist symbols, street names and monuments, in a ‘decommunisation’ attempt, but World War II monuments are excluded from these laws. Director of the Ukrainian Institute of National Remembrance Volodymyr Viatrovych stated in February 2018 that the state emblem of the Soviet Union on the shield of the monument should be removed according to the decommunisation laws. To date however, it has still not been removed.
This description incorporates text from the English Wikipedia.
Viewed here from the Paton Bridge towards its Left Bank end on an August evening after sunset, The Motherland Monument (Ukrainian: Батьківщина-Мати, Russian: Родина-мать) is a monumental statue in Kiev, the capital of Ukraine. The sculpture is a part of the National Museum of the History of Ukraine in the Second World War.
The stainless steel statue stands 62 metres tall and sits on the museum’s main building; the overall structure is 102 metres high including its base, and weighs 560 tonnes. The sword in the statue's right hand is 16 metres long and weighs 9 tonnes, with the left hand holding up a 13 by 8 metre shield with the State Emblem of the Soviet Union. Initially the image of the statue was drawn by Yevgeny Vutchetich from Ukrainian painter Nina Danyleiko, after the design was taken over by Borodai from another Ukrainian sculptor Halyna Kalchenko, a daughter of the Prime Minister of Ukraine Nikifor Kalchenko. The sword of the statue was cut because the tip of the sword was higher than the cross of the Kyiv Pechersk Lavra.
In the 1970s, a shipload of Communist Party officials and Soviet sculptor Yevgeny Vuchetich looked across at the hills by the Lavra and decided the panorama needed a war memorial. Vuchetich had designed the other two most famous giant Soviet war memorials, ‘The Motherland Calls’ in Volgograd and the East Berlin sculpture of a Soviet soldier carrying a German infant. Vuchetich died in 1974, however, and the design of the memorial was afterwards substantially reworked and completed under the guidance of Vasyl Borodai.
Final plans for the statue were finalised in 1978, with construction on an expensive and always controversial project beginning in 1979. The statue was opened in 1981 in a ceremony attended by Soviet General Secretary Leonid Brezhnev.
In modern-day Kyiv, the statue remains controversial, with some claiming it should be pulled down and its metal used for more functional purposes. Financial shortages mean that the flame, which uses up to 400 m3 of gas per hour, can only burn on the biggest national holidays, and rumours persist that the statue is built on unstable foundations, something strongly denied by the Kyiv local government.
In April 2015, the parliament of Ukraine outlawed Soviet and Communist symbols, street names and monuments, in a ‘decommunisation’ attempt, but World War II monuments are excluded from these laws. Director of the Ukrainian Institute of National Remembrance Volodymyr Viatrovych stated in February 2018 that the state emblem of the Soviet Union on the shield of the monument should be removed according to the decommunisation laws. To date however, it has still not been removed.
This description incorporates text from the English Wikipedia.
This Crossing of the Dnieper Monument at
the National Museum of the History of Ukraine in the Second World War in Kyiv. is a classic example of Soviet Art commemorating a key moment in the Soviet recapture of Kyiv and indeed Ukraine in 1943. It is part of a complex of memorial statues and sculptures in the grounds of the museum. Behind is the entrance to the Alley of Sculptures which commemorates aspects of the Ukrainian war effort such as the partisan war, the efforts of factory workers on the home front, and the desperate defence of the Soviet Union after Hitler's invasion in 1941
A close up of the face of a partisan, part of the enormous Crossing of the Dnieper Monument at the Ukranian National Museum of the Second World War in Kiev. This classic example of Soviet Art commemorating a key moment in the Soviet recapture of Kyiv and indeed Ukraine in 1943. It is part of a complex of memorial statues and sculptures in the grounds of the museum. In the distance are the enormous tower-block neighbourhoods on the other side of the Dnipro, in left-bank Kyiv.
This Crossing of the Dnieper Monument at the National Museum of the History of Ukraine in the Second World War in Kyiv is a classic example of Soviet Art commemorating a key moment in the Soviet recapture of Kyiv and indeed Ukraine in 1943. It is part of a complex of memorial statues and sculptures in the grounds of the museum. Behind is the entrance to the Alley of Sculptures which commemorates aspects of the Ukrainian war effort such as the partisan war, the efforts of factory workers on the home front, and the desperate defence of the Soviet Union after Hitler's invasion in 1941.
This photo was shot from the upper floors of the museum.
Viewed the grounds of the Ukrainian National Museum of the History of World War Two, in which it stands, the Motherland Monument (Ukrainian: Батьківщина-Мати, Russian: Родина-мать) is a monumental statue in Kiev, the capital of Ukraine. The sculpture is a part of the National Museum of the History of Ukraine in the Second World War.
The stainless steel statue stands 62 metres tall and sits on the museum’s main building; the overall structure is 102 metres high including its base, and weighs 560 tonnes. The sword in the statue's right hand is 16 metres long and weighs 9 tonnes, with the left hand holding up a 13 by 8 metre shield with the State Emblem of the Soviet Union. Initially the image of the statue was drawn by Yevgeny Vutchetich from Ukrainian painter Nina Danyleiko, after the design was taken over by Borodai from another Ukrainian sculptor Halyna Kalchenko, a daughter of the Prime Minister of Ukraine Nikifor Kalchenko. The sword of the statue was cut because the tip of the sword was higher than the cross of the Kyiv Pechersk Lavra.
In the 1970s, a shipload of Communist Party officials and Soviet sculptor Yevgeny Vuchetich looked across at the hills by the Lavra and decided the panorama needed a war memorial. Vuchetich had designed the other two most famous giant Soviet war memorials, ‘The Motherland Calls’ in Volgograd and the East Berlin sculpture of a Soviet soldier carrying a German infant. Vuchetich died in 1974, however, and the design of the memorial was afterwards substantially reworked and completed under the guidance of Vasyl Borodai.
Final plans for the statue were finalised in 1978, with construction on an expensive and always controversial project beginning in 1979. The statue was opened in 1981 in a ceremony attended by Soviet General Secretary Leonid Brezhnev.
In modern-day Kyiv, the statue remains controversial, with some claiming it should be pulled down and its metal used for more functional purposes. Financial shortages mean that the flame, which uses up to 400 m3 of gas per hour, can only burn on the biggest national holidays, and rumours persist that the statue is built on unstable foundations, something strongly denied by the Kyiv local government.
In April 2015, the parliament of Ukraine outlawed Soviet and Communist symbols, street names and monuments, in a ‘decommunisation’ attempt, but World War II monuments are excluded from these laws. Director of the Ukrainian Institute of National Remembrance Volodymyr Viatrovych stated in February 2018 that the state emblem of the Soviet Union on the shield of the monument should be removed according to the decommunisation laws. To date however, it has still not been removed.
This description incorporates text from the English Wikipedia.\]
Soviet WW2 infantry backed by a Katyusha rocket launcher, part of the enormous Crossing of the Dnieper Monument at the Ukranian National Museum of the Second World War in Kiev. This classic example of Soviet Art commemorating a key moment in the Soviet recapture of Kyiv and indeed Ukraine in 1943. It is part of a complex of memorial statues and sculptures in the grounds of the museum. In the distance are the enormous tower-block neighbourhoods on the other side of the Dnipro, in left-bank Kyiv.
Postcards booklet purchased at a flea market outside Budapest. This one depicts the "Lenin Sports Palace". Another one has the exotic title: " Kirghig State Order of the Red Banner of Labor Drama Theater". Sounds like plenty of fun, no? Serie of 18 postcards from Frunze, Kyrgyzstan printed in 1985.
Village Bus Station ✨ | Arménie 2019.
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A boy carries supplies for infantry attacking from underground, part of the enormous Crossing of the Dnieper Monument at the Ukranian National Museum of the Second World War in Kiev. This classic example of Soviet Art commemorating a key moment in the Soviet recapture of Kyiv and indeed Ukraine in 1943. It is part of a complex of memorial statues and sculptures in the grounds of the museum. In the distance are the enormous tower-block neighbourhoods on the other side of the Dnipro, in left-bank Kyiv.
Partisans prepare an attack from underground, part of the enormous Crossing of the Dnieper Monument at the Ukranian National Museum of the Second World War in Kiev. This classic example of Soviet Art commemorating a key moment in the Soviet recapture of Kyiv and indeed Ukraine in 1943. It is part of a complex of memorial statues and sculptures in the grounds of the museum. In the distance are the enormous tower-block neighbourhoods on the other side of the Dnipro, in left-bank Kyiv.
Viewed here from the Paton Bridge towards its Left Bank end on an August evening after sunset, The Motherland Monument (Ukrainian: Батьківщина-Мати, Russian: Родина-мать) is a monumental statue in Kiev, the capital of Ukraine. The sculpture is a part of the National Museum of the History of Ukraine in the Second World War.
The stainless steel statue stands 62 metres tall and sits on the museum’s main building; the overall structure is 102 metres high including its base, and weighs 560 tonnes. The sword in the statue's right hand is 16 metres long and weighs 9 tonnes, with the left hand holding up a 13 by 8 metre shield with the State Emblem of the Soviet Union. Initially the image of the statue was drawn by Yevgeny Vutchetich from Ukrainian painter Nina Danyleiko, after the design was taken over by Borodai from another Ukrainian sculptor Halyna Kalchenko, a daughter of the Prime Minister of Ukraine Nikifor Kalchenko. The sword of the statue was cut because the tip of the sword was higher than the cross of the Kyiv Pechersk Lavra.
In the 1970s, a shipload of Communist Party officials and Soviet sculptor Yevgeny Vuchetich looked across at the hills by the Lavra and decided the panorama needed a war memorial. Vuchetich had designed the other two most famous giant Soviet war memorials, ‘The Motherland Calls’ in Volgograd and the East Berlin sculpture of a Soviet soldier carrying a German infant. Vuchetich died in 1974, however, and the design of the memorial was afterwards substantially reworked and completed under the guidance of Vasyl Borodai.
Final plans for the statue were finalised in 1978, with construction on an expensive and always controversial project beginning in 1979. The statue was opened in 1981 in a ceremony attended by Soviet General Secretary Leonid Brezhnev.
In modern-day Kyiv, the statue remains controversial, with some claiming it should be pulled down and its metal used for more functional purposes. Financial shortages mean that the flame, which uses up to 400 m3 of gas per hour, can only burn on the biggest national holidays, and rumours persist that the statue is built on unstable foundations, something strongly denied by the Kyiv local government.
In April 2015, the parliament of Ukraine outlawed Soviet and Communist symbols, street names and monuments, in a ‘decommunisation’ attempt, but World War II monuments are excluded from these laws. Director of the Ukrainian Institute of National Remembrance Volodymyr Viatrovych stated in February 2018 that the state emblem of the Soviet Union on the shield of the monument should be removed according to the decommunisation laws. To date however, it has still not been removed.
This description incorporates text from the English Wikipedia.
Sadly, I can find no information about this rather fine heroic realist haut relief, which celebrates the Soviet victory in World War Two, and is housed in the National Museum of the History of Ukraine in the Second World War.
The National Museum of the History of Ukraine in the Second World War (Ukrainian: Музей історії України у Другій світовій війні) is a memorial complex commemorating the German-Soviet War located in the southern outskirts of the Pechersk district of Kyiv, the capital of Ukraine, on the picturesque hills on the right-bank of the Dnipro River.
The museum was moved twice before ending up in the current location where it was ceremonially opened on May 9 (Victory Day) in 1981 by the Soviet leader Leonid Brezhnev. On June 21, 1996, the museum was accorded its current status of the National Museum by the special decree signed by Leonid Kuchma, the then-President of Ukraine.
It is one of the largest museums in Ukraine (over 300 thousand exhibits) centered on the now famous 62-metre tall Motherland statue, which has become one of the best recognized landmarks of Kyiv.
Viewed the grounds of the Ukrainian National Museum of the History of World War Two, in which it stands, the Motherland Monument (Ukrainian: Батьківщина-Мати, Russian: Родина-мать) is a monumental statue in Kiev, the capital of Ukraine. The sculpture is a part of the National Museum of the History of Ukraine in the Second World War.
The stainless steel statue stands 62 metres tall and sits on the museum’s main building; the overall structure is 102 metres high including its base, and weighs 560 tonnes. The sword in the statue's right hand is 16 metres long and weighs 9 tonnes, with the left hand holding up a 13 by 8 metre shield with the State Emblem of the Soviet Union. Initially the image of the statue was drawn by Yevgeny Vutchetich from Ukrainian painter Nina Danyleiko, after the design was taken over by Borodai from another Ukrainian sculptor Halyna Kalchenko, a daughter of the Prime Minister of Ukraine Nikifor Kalchenko. The sword of the statue was cut because the tip of the sword was higher than the cross of the Kyiv Pechersk Lavra.
In the 1970s, a shipload of Communist Party officials and Soviet sculptor Yevgeny Vuchetich looked across at the hills by the Lavra and decided the panorama needed a war memorial. Vuchetich had designed the other two most famous giant Soviet war memorials, ‘The Motherland Calls’ in Volgograd and the East Berlin sculpture of a Soviet soldier carrying a German infant. Vuchetich died in 1974, however, and the design of the memorial was afterwards substantially reworked and completed under the guidance of Vasyl Borodai.
Final plans for the statue were finalised in 1978, with construction on an expensive and always controversial project beginning in 1979. The statue was opened in 1981 in a ceremony attended by Soviet General Secretary Leonid Brezhnev.
In modern-day Kyiv, the statue remains controversial, with some claiming it should be pulled down and its metal used for more functional purposes. Financial shortages mean that the flame, which uses up to 400 m3 of gas per hour, can only burn on the biggest national holidays, and rumours persist that the statue is built on unstable foundations, something strongly denied by the Kyiv local government.
In April 2015, the parliament of Ukraine outlawed Soviet and Communist symbols, street names and monuments, in a ‘decommunisation’ attempt, but World War II monuments are excluded from these laws. Director of the Ukrainian Institute of National Remembrance Volodymyr Viatrovych stated in February 2018 that the state emblem of the Soviet Union on the shield of the monument should be removed according to the decommunisation laws. To date however, it has still not been removed.
This description incorporates text from the English Wikipedia.\]
Civilians and partisans huddled under the ground, part of the enormous Crossing of the Dnieper Monument at the Ukranian National Museum of the Second World War in Kiev. This classic example of Soviet Art commemorating a key moment in the Soviet recapture of Kyiv and indeed Ukraine in 1943. It is part of a complex of memorial statues and sculptures in the grounds of the museum. In the distance are the enormous tower-block neighbourhoods on the other side of the Dnipro, in left-bank Kyiv.