1917, Russia – the Tzar has been overthrown, and the communist Bolsheviks, under the leadership of Vladimir Lenin, have taken control. When looking for ways to promote the new regime, Lenin found potential in a porcelain factory. It contained assortments of fresh, unpainted, snow-white dishes. Lenin believed they could become a channel for artistic innovation and a way for artists to express their utopian ideals, helping rouse support for the new communist party.
Telegraph wires and smoking chimneys were depicted dramatically on many plates, as one of Lenin’s biggest goals was to increase Russia’s productivity. Later becoming known as Agitation Porcelain, they also displayed images of Lenin and were commonly furnished with calls to action.
From a practical perspective, these plates were just plates helping spread propaganda. But historian Dr. Sjeng Scheijen explains, ”They were real, independent artworks. If you only look at them from a utilitarian aspect, either as a [table] service or as a service to the state, you do them an injustice.” For example, Malevich’s half moon cups and large teapot set were too clunky and outlandish for the 1920s. Also, the hand painted details of some jugs were too delicate for everyday use. These creations were only meant to be displayed. ”They were too rare, too experimental,” Birgit Boelens of the Hermitage Amsterdam says. ”The individual pieces are of such a high quality that it took too long to mass produce them.”
This was because the porcelain factory hired the most visionary artists of the time. Members of the Avant-Garde Wassily Kandinsky and Kazimir Malevich were notable artists. Their abstract and geometric style exhibited a revolutionary artistic expression that reflected Lenin’s new regime. These artists brought their style to many forms of art: music, film, theater, and architecture being some examples.
Though they were technically just plates used to promote communism, these dishes were very influential. Russians that were surviving through the after-war disease and famine were doubtlessly offered a light by the lush rush of innovative art, which still inspires many to this day. Seeing all this, what’s stopping your everyday Corelle plates from changing the nation today?
Telegraph wires and smoking chimneys were depicted dramatically on many plates, as one of Lenin’s biggest goals was to increase Russia’s productivity. Later becoming known as Agitation Porcelain, they also displayed images of Lenin and were commonly furnished with calls to action.
From a practical perspective, these plates were just plates helping spread propaganda. But historian Dr. Sjeng Scheijen explains, ”They were real, independent artworks. If you only look at them from a utilitarian aspect, either as a [table] service or as a service to the state, you do them an injustice.” For example, Malevich’s half moon cups and large teapot set were too clunky and outlandish for the 1920s. Also, the hand painted details of some jugs were too delicate for everyday use. These creations were only meant to be displayed. ”They were too rare, too experimental,” Birgit Boelens of the Hermitage Amsterdam says. ”The individual pieces are of such a high quality that it took too long to mass produce them.”
This was because the porcelain factory hired the most visionary artists of the time. Members of the Avant-Garde Wassily Kandinsky and Kazimir Malevich were notable artists. Their abstract and geometric style exhibited a revolutionary artistic expression that reflected Lenin’s new regime. These artists brought their style to many forms of art: music, film, theater, and architecture being some examples.
Though they were technically just plates used to promote communism, these dishes were very influential. Russians that were surviving through the after-war disease and famine were doubtlessly offered a light by the lush rush of innovative art, which still inspires many to this day. Seeing all this, what’s stopping your everyday Corelle plates from changing the nation today?
