Stationery. Sheet with Portrait of Lenin 1924

Curator: This ink drawing from 1924 by Boris Kustodiev is entitled "Stationery. Sheet with Portrait of Lenin". It appears to be a portrait intended for letterhead. Editor: My immediate impression is one of graphic simplicity, almost severe. The limited color palette focuses attention sharply on Lenin's face, but its set within this rather busy, illustrative surround that's somewhat... folk-arty? Curator: Precisely. The portrait, framed in what looks like a worker’s toolkit, wheel, and brush, signifies the unification of the proletariat classes. Kustodiev's approach combines revolutionary symbolism with popular visual language suitable for wide circulation, effectively using what was once seen as craft-production as now propaganda. Editor: But consider the stark contrast. The carefully rendered portrait exudes solemnity while the surrounding tools, sketched with quick strokes, introduce a less refined, almost propagandistic context. The sheet almost divides itself, high art on the one hand, populist symbolism on the other. Is the intention simply utilitarian, or is it meant to provoke reflection on Lenin’s image? Curator: I see that tension as intentional. Think of this piece as part of a larger societal shift towards standardizing revolutionary iconography for widespread consumption. Kustodiev isn't merely depicting Lenin; he's packaging him, integrating him into the everyday lives of Soviet citizens through mundane objects. Editor: The stark black and white lends the piece authority. The grid texture of the underlying paper serves to re-iterate its character. The framing evokes the man, a leader of the Soviet working class. I must say, examining its construction closely does reveal how cleverly it’s put together as a communicative work. Curator: Indeed. What initially reads as merely a piece of stationery opens up into a fascinating crossroads of politics, artistic intent, and the quotidian experience of early Soviet life. Editor: Seeing it through your lens reveals that the formal elements actively construct Lenin as both an icon and a relatable figure. A curious, quite effective bit of propaganda indeed.