Tractors and day nurseries are the engines of the new village. Do not forget about maternity care and consultations on collective and state farms. (Unknown artist) Soviet Posters (1917-1941)

The artwork presents a carefully constructed visual narrative centered on themes of progress, motherhood, and collective labor within a rural setting. The composition is dominated by a stylized depiction of a woman holding an infant, positioned prominently in the foreground. Her gaze is directed forward, conveying a sense of quiet determination or perhaps hopeful expectation. She wears traditional peasant attire, suggesting a connection to established rural life while simultaneously signaling her participation in a new social order.
Behind the figure, a complex scene unfolds. A cluster of buildings, presumably representing a collective farm or village center, rises dramatically against a backdrop resembling a stylized mountain range. This architectural grouping is rendered with an almost utopian quality – clean lines, symmetrical arrangement, and a sense of orderly expansion. The presence of what appears to be a railway line further emphasizes the integration of modern infrastructure into this rural landscape.
A group of individuals, seemingly workers or villagers, are depicted engaged in various activities: some appear to be operating machinery, others are gathered around buildings. Their postures suggest diligence and collective effort. The artist has employed a limited color palette – primarily reds, yellows, and browns – which contributes to the overall sense of warmth and optimism.
The text incorporated into the design reinforces these themes. Phrases like Tractors and day nurseries are the engines of the new village and calls for attention to maternal care and consultations within collective farms explicitly link technological advancement with social welfare and familial support. The typography itself is bold and assertive, further amplifying the message of progress and societal transformation.
Subtly, the artwork conveys a sense of controlled idealism. While celebrating rural life and motherhood, it also implies a degree of imposed order and standardization. The idealized depiction of both the landscape and the people suggests a desire to portray an aspirational vision of collective living rather than a realistic representation of everyday existence. The mountain-like backdrop, while visually striking, could be interpreted as symbolizing the challenges or obstacles that must be overcome in achieving this new rural utopia. Ultimately, the painting functions as a piece of propaganda, designed to promote and legitimize the policies and ideals of the era.