Definite parallels can be drawn among El Lissitzky’s “Beat the Whites with the Red Wedge” (1919), Alexander Rodchenko’s advertisement “Books!” (1923-1924), and Gustav Klutsis’s “Electrification of the entire Country”(1920). “Beat the Whites with the Red Wedge,” seen above, draws upon the visual language and symbolism established in communist Russia around the time of the Russian civil war. Relying on a well-known color scheme, Lissitzky’s work illustrates the supremacy of the “Reds”, communist revolutionaries, over the “Whites,” the monarchists and conservatives opposed to the Bolshevik revolution. Anthropologist John Gage writes “the political connotations of white were underlined by the civil war in Russia and exploited by El Lissitzky in his famous poster Beat the Whites with the Red Wedge,”1.The image of the red wedge penetrating the white circle is reminiscent of the Bolshevik invasion of the White Palace and suggests that communism is superior to the tsarist regime. While there is some text included in the image, “Beat the Whites with the Red Wedge,” does not depend on text to convey the power of the Bolsheviks, and is therefore appealing to both literate and illiterate viewers. The universality of “Beat the Whites with the Red Wedge” made it a popular piece of propaganda. As a result, other artists have embraced Lissitzky’s work as inspiration and a source of meaning for later advertisements.
Alexander Rodchenko’s “Books!” seen to the right, relies upon the basic image of “Beat the Whites with the Red Wedge” to give a positive connotation and power to the books the advertisement seeks to sell. In this image the wedge contains the word “Books” and thus visually links the power and initial success of the Bolsheviks to books and the potential power of knowledge. Instead of a white circle, in Rodchenko’s advertisement the circle contains a photograph of the artist’s wife Stepanova. While the overall advertisement seems to display Stepanova shouting the word “Books!”, understanding of Lissitzky’s earlier piece provides an extra dimension and potentially suggests that the books and knowledge associated with them are becoming a part of the woman. The visual parallels between “Beat the Whites with the Red Wedge” and “Books!” empower Rodchenko’s advertisement and give it a more profound meaning. Additionally, the red background and visual culture reference convey an underlying message of Soviet supremacy.
Gustav Klutsis’s “Electrification of the Entire Country” (1920) seen to the right, is also a visual analogue of the “Beat the Whites with the Red Wedge”. “Electrification of the Entire Country” is a photomontage of Lenin, holding an electricity piling and striding across the globe. According to Margaret Tupitsyn, “Electrification is centered around a circle and contains a photograph of a giant Lenin, who strides into the picture carrying a remarkable structure of metal scaffolding and architectural sections- a symbol of the technological modernization promised by the Bolshevik government,”2. Tupitsyn also explains that the piece, “constituted one of the earliest examples of the combination of an abstract composition with an overtly political message expressed through photography,” 3. At the time this image was created, photography was just becoming a more popular medium because it was allegedly more legible. Klutsis’s image was created in response to Lenin’s plan to provide electricity for all of Russia and parallels Lissitzky’s work by likening Lenin to the red wedge, driving electricity into the world. While the reference to “Beat the Whites with the Red Wedge” helps portray Lenin as a powerful and influential being, there is also a satirical element to this work. Because Lenin’s plan to provide electricity to all of Russia was not entirely successful and Klutsis’s use of photomontage over dramatically portrays Lenin as a pioneer or innovator, “Electrification of the entire Country” could also be mocking the Bolshevik leader.
1. Gage, John. 1988. Black and white and red all over. Anthropology and Aesthetics. 16: 51-53.
2. Tupitsyn, Margarita. Jan. 1991. Gustav Klutsis: Between Art and Politics. Art in America. 79 (1): 41-45.
3. Tupitsyn, Margaret. The Soviet Photograph, 1924-1937. Yale University Press. New Haven: 1996. Pg. 11.
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