Original Russian film title on the poster. = CM: 48 x 77. VERY GOOD, FOLD IN THE MIDDLE. Original vintage Soviet movie poster. "Oruzhie Pobedy" - the 1961 North Korean war drama.The film was dubbed at the Maxim Gorky film studio. The poster features a mother with rifles carrying a baby on her back. The poster was folded one time in the middle, but it is in a very good condition.
Please Note: The artwork was issued in a highly limited edition - only 13.000 exemplars and created by famous Soviet poster artist, so this poster is really very collectable and hard to find one. THE ACTORS NAME WAS TAKEN FROM THE POSTER. Didn't find any information about this movie, if somebody know something about this movie would appreciate for sharing it with. KARAKASHEV VILEN SURENOVICH (1935 - alive) Famous Soviet and Russian artist, graphic artist, poster artist, painter, public figure, Honored Artist of the Russian Federation. Vilen Surenovich Karakashev Graduated from the Moscow Art School, then graduated from the Moscow State Institute named after V.Surikov, the poster workshop of Professor M. Since 1962 - Participant of all-Union, republican, regional exhibitions in Moscow, Leningrad, Baku, Vilnius, Riga, Odessa, Kaliningrad and other cities. Later he took part in Russian exhibitions, as well as in exhibitions abroad in Poland, Germany, Czechoslovakia, Bulgaria, Cuba, France, USA, Finland, Ireland, Japan, Italy, Cyprus. Participated in international, all-Union and All-Russian competitions, received prizes, medals, diplomas. 1965 - First prize at the competition "For Peace" Moscow.
1970 - Prize at the International Poster Biennale in Warsaw. 1978 - Prize of the Central Committee of the Youth of Bulgaria.1991 - First Prize at the Golden Brush festival-competition. Diplomas for the best posters of the year: 1966.1967, 1969.1976, 1980, 1984.1986, 1988.1989. Karakashev belongs to the galaxy of artists who played an important role in the search for new ways to develop the art of poster, which began with the changes in the social life of the country in the 1960s. This cultural phenomenon was so significant that to this day the development of the national poster takes place in line with the discoveries of that time, and in this almost half-century process, the work of Karakashev, his colleagues, followers and students plays a leading role. The success of the implementation of the new system was facilitated, first of all, by the aspiration of its creators to intensify the civic activity of people in every possible way. The poster was addressed not to the impersonal mass, but to the social conscience of each individual.
From this arose the need to create an aesthetically self-valuable work. Karakashev brought a new aesthetics, new plastic culture and beauty to the poster. The style of his posters was so unexpected and vivid that the printers who printed the first prints cleaned them up for themselves. It is remarkable that all these works do not lose their attractiveness even after many years. The events reflected in them are long gone, but Karakashev's posters continue to live in time, entering the classics of Russian art.
By the way, some of these events, perhaps, will first of all remain in historical memory thanks to the works of Karakashev. This also applies to movie posters, with which Karakashev began his creative activity.
They are not inferior in their aesthetic qualities to films, and often surpass them. Many films have long since disappeared from the screen, and Karakashev's posters continue to actively live in museum and exhibition use. Thanks to the creative work of Karakashev and his colleagues, the poster became an equal participant in art exhibitions along with sculpture and painting, which was the highest assessment of its aesthetic and social significance.Karakashev's poster not only led in the artistic process with its avant-garde orientation. He entered life not only by becoming its usual attribute, but, ahead of social processes, appealed to the thoughts and consciousness of citizens, hacked mossy political and social concepts. Karakashev's poster is initially intellectual. Behind his precise imaginative solutions are the artist's deep knowledge of the fine arts, architecture, design, theater, music, literature, philosophy. This is combined with the outstanding qualities of Karakashev as an expert in the psychology of perception and the ability to react with interest to changes in "fast-flowing life". All this must be multiplied by a wonderful artistic gift.
But the poster artist is deprived of the possibility of a verbose explanation, such is the specificity of the poster, the composition of which should approach the pictorial formula. Karakashev possesses a special skill of "packing" a certain lengthy concept into an expressive sign, which is always a metaphor, a contrast in the connection of unconnected elements, the magic of a color that "hits" the subconscious. The result of this paradoxical movement of the artist's thought is always an exhaustively accurate figurative solution, the only one, it would seem, from many possible. Karakashev's paintings and graphics, especially in recent years, have received, perhaps, no less fame than his poster.
Especially, apparently, the cycle of graphic works dedicated to India should be noted. It seems unexpected for a master to turn to them, with his whole life and work associated with problems that are urgently close, visible and tangible. And these are by no means tempting views of a distant exotic country. Some unknown road at one time led Karakashev, according to the artist himself, in the midst of his persistent search for "absolute truth", to Indian philosophy.Based on the knowledge gained and on the impressions of the trip to India, a fundamental cycle of "hypergraphics" was created, dedicated to the country unfulfilled dream, which, apparently, served as the liberation of the artist from temporary. This item is in the category "Art\Art Posters".
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