Lenin's Monumental Propaganda Plan

Lenin's Plan of "Monumental Propaganda" – is a strategy proposed by Lénin of employing visual monumental art (revolutionary slogans and monumental sculpture) as an important means for propagating revolutionary and communist ideas. "The plan" had the significance of creating a large demand for monumental sculpture on a state level, and thus it stands at the origins of the Soviet school of sculpture. The "plan" consisted of two main projects: (1) – decorating buildings and other surfaces "traditionally used for banners and posters" with revolutionary slogans and memorial relief plaques; (2) – vast erection of "temporary, plaster-cast" monuments in honor of great revolutionary leaders.

Realization of the plan was initiated with a decree issued by Sovnarkom (the Council of People's Commissars) "On Republic's monuments" (sanctioned April 12, 1918), which ordained removal of monuments "erected in honor of tzars and their servants" and the development of projects for monuments to the Russian Socialist Revolution" . The section of visual arts of Narkompros (People's Commissariat for Education) drew up a list of personalities in honor of whom the monuments were to be erected. Included in the list were not only revolutionaries and great public figures but also great Russian and foreign scientists, philosophers, poets and writers, artists, composers and actors – 69 persons in all. In addition to sculptures of individuals the plan of monumental propaganda also assumed projects for allegorical compositions.

Noted sculptors from all-over Russia, mainly from Moscow and Petrográd (present-day St. Petersburg) were engaged in the task of designing monuments. Thus a strong impetus was given for formation and progressive development of the Soviet school of sculpture. It is important to note that the state commission for monumental sculpture was determinative in shaping the mainstream tendencies of evolution of Soviet sculpture: the prevalence of urban monuments, the criterion of social significance as a thematic guideline, patriotism, subdued expression of emotions, heroic content, idealization and artistic brevity, excessive pathos at times, grandiosity of scale.

The memoirs of L. Shérwood, the oldest of Russian sculptors at that time, render the rising optimism about "the plan" among sculptors: "… Not only was I delighted, but also amazed that despite the immense destitutions that we were experiencing at that time, the young Soviet State put forward a demand for sculpture, a demand which traditionally associated with wealthy individual clients or economically prosperous social organizations. Today, of course, it is clear for us that Lenin's plan of "monumental propaganda" was intrinsically connected with the cause of the cultural revolution brought about by the Great days of the October and aimed to "rebuild" people's consciousness".

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