Only the whiteguard pack is advantageous for the working class to quarrel with the dirty spots, the pogromists and anti-Semites will be cleaned and washed off from the enterprises. (Rotov K.) Soviet Posters (1917-1941)

The artwork presents a stark visual narrative centered around themes of class struggle and ideological purification within an industrial setting. Here we see a colossal hand, rendered in a simplified, almost cartoonish style, dominating the composition. This hand descends from above, poised to cleanse or eradicate a group of figures clustered below. These individuals are depicted with exaggerated, grotesque features – snarling expressions, distorted faces – suggesting animosity and moral corruption. They appear as caricatures of anti-Semites and pogromists, positioned within the shadow of imposing factory buildings that form the backdrop.
The industrial architecture itself is rendered in a blocky, almost brutalist manner, reinforcing the sense of an oppressive environment. The color palette is limited to shades of red, black, and white, contributing to the work’s dramatic intensity and propagandistic purpose. Red, often associated with revolution and sacrifice, dominates the upper portion of the image, while the figures below are shrouded in shadow, emphasizing their negative portrayal.
The text accompanying the imagery reinforces its message. It advocates for a division within the working class, suggesting that those deemed dirty spots – specifically pogromists and anti-Semites – must be eliminated from workplaces to benefit the “whiteguard pack.” The language is deliberately provocative, employing terms like cleaned off and washed off, which further emphasize the violent nature of the proposed ideological cleansing.
Subtly, the artwork employs a visual metaphor of purification. The descending hand symbolizes an external force – presumably representing the state or a revolutionary faction – intervening to rid society of undesirable elements. However, the sheer scale of the hand and its aggressive posture also raise questions about the potential for authoritarianism and the suppression of dissent under the guise of ideological purity. The exaggerated depiction of the enemies suggests a simplification of complex social issues, reducing individuals to caricatures in order to justify their removal from society. Ultimately, the work serves as a powerful example of Soviet-era propaganda, utilizing visual symbolism and inflammatory rhetoric to promote a specific political agenda.