Without a revolutionary theory there can not be a revolutionary movement. (Klutsis G.) Soviet Posters (1917-1941)

The composition presents two prominent figures positioned centrally against a backdrop of geometric abstraction and textual declarations. On either side of a central red star, framed by angular planes, are portraits of Karl Marx and Vladimir Lenin. The faces are rendered with a degree of realism, though stylized for clarity and impact; Marx’s beard is particularly emphasized, lending him an air of gravitas, while Lenins gaze appears directed forward, conveying determination.
The red star itself serves as a potent symbol, immediately associating the work with revolutionary ideology. It dominates the visual field, acting as both a focal point and a unifying element for the disparate components of the design. The angular planes that frame the portraits create a sense of dynamism and movement, suggesting an active, ongoing process rather than static representation.
Above the figures, bold Cyrillic text proclaims Without a revolutionary theory there can not be a revolutionary movement. This statement is presented in a stark, sans-serif typeface, reinforcing the didactic nature of the work. The placement above the portraits elevates their significance, implying that these men embody and represent the theoretical foundation for revolutionary action.
Below the central figures, another block of text, rendered in a similar style, reads Revolutionary Movement, further emphasizing the core message. At the bottom right corner, smaller lettering identifies the organization responsible: Agitprop MK VKP(b). This attribution situates the work within the context of Bolshevik propaganda and political mobilization.
The background is filled with a grid of smaller images – photographs or illustrations – that appear to depict scenes of industrial labor, social unrest, and perhaps even military action. These vignettes offer glimpses into the realities that purportedly necessitate revolutionary change. They serve as visual evidence supporting the theoretical claims made above, grounding the abstract concepts in concrete experiences.
The overall effect is one of forceful persuasion. The design employs a combination of recognizable iconography (the star, portraits of key figures) and clear, direct messaging to convey a specific political agenda. The stark contrast between black, red, and white contributes to the work’s visual intensity and reinforces its message of urgency and action. Its evident that the author intended this piece as an instrument for ideological indoctrination and mobilization within the Soviet context.