Everything for the guys of the wallpaper of the floor from the date of birth ... Set for the newborn (Bulanov M.) Soviet Posters (1917-1941)

The artwork presents a striking visual composition centered around a mother and child, rendered in a style characteristic of Soviet-era propaganda posters. Here we see a woman embracing a young boy, her expression conveying both tenderness and resolute strength. The child clings to her neck, his face partially obscured but suggesting an air of vulnerability. Their figures are positioned against a backdrop dominated by bold typography and graphic elements.
The color palette is deliberately limited, employing warm yellows and reds for the text block that commands attention in the foreground, contrasted with cooler tones in the depiction of the mother and child. This contrast serves to highlight the central human element while simultaneously emphasizing the promotional message. The woman’s hair is styled in a manner typical of the period, further anchoring the image within its historical context.
The textual elements are crucial to understanding the works purpose. Phrases like Все (All), “Матери найдут” (Mothers will find), and references to specific addresses (Воздвиженка 10, Кузнецкий мост 9) indicate a commercial advertisement for goods intended for infants and young children. The inclusion of the acronym МСПО (Moscow Society of Consumer Unions) identifies the sponsoring organization, a key institution in Soviet distribution networks. A smaller emblem at the bottom right bears the word “Москва-реклама” (“Moscow Advertising”), confirming its function as promotional material.
Beyond the surface level of advertising, the image carries several layers of subtext. The depiction of the mother and child evokes themes of familial support and care, aligning with Soviet ideals of nurturing a new generation. The woman’s posture – protective yet upright – suggests both maternal devotion and an implicit endorsement of the states provision for its citizens. The emphasis on goods for children of either sex from birth to six years underscores the regime’s stated commitment to universal welfare, albeit within a framework of consumerism.
The overall effect is one of calculated optimism, presenting a seemingly idyllic scene while simultaneously serving as a vehicle for promoting state-controlled commerce. The artist skillfully blends sentimental imagery with utilitarian messaging, creating an artifact that reflects both the personal and political dimensions of life in Soviet society.