Socialist mosaics and bas reliefs in Albania

Bashkia Mosaic - Ura Vajguror

Bashkia Mosaic – Ura Vajguror

More on Albania ……

The Albanian Cultural Revolution

Art as a means of promoting Socialism in Albania

Socialist mosaics and bas reliefs in Albania

In order that the Albanian Lapidar Survey didn’t become open ended many public works of art that had been created during the Socialist period (1944-1990) were not recorded. However, in my travels I have encountered many of these and have treated them in the same, hopefully, thorough manner as I have the ‘official’ lapidars.

‘The Albanians’ Mosaic, National Historical Museum, Tirana

‘The Albanians’ mosaic on National Historical Museum, Tirana, is one of the finest examples of late Albanian Socialist Realism still to be seen in the country.

Political Vandalism and ‘The Albanians’ Mosaic in Tirana

The wonderful and impressive ‘The Albanians’ Mosaic, which has looked down on Skenderbeu Square, in the centre of Tirana, from above the entrance of the National Historical Museum since 1982, is starting to show it’s age. Less it’s age, in fact, but really the signs of intentional neglect which is tantamount to an act of political vandalism.

Restoration of ‘The Albanians’ – National Historical Museum, Tirana – or not

For the second time in less than a decade the façade of the National Historical Museum in Tirana is obscured by scaffolding and sheeting. As on the previous occasion (in 2012) the reason is, supposedly, for the renovation of the ‘The Albanians’, the huge mosaic that celebrates and commemorates the struggle for independence through the ages, the victory over Fascism and the construction of Socialism.

The bas reliefs and mosaics of the Vlora Palace of Sport

Although they are being neglected, and sometimes need dedication and determination to view them, there are still a number of artistic works from the Socialist period on many of what would have been public buildings. The most impressive (and becoming one of the most neglected) is the grand mosaic on the façade of the National Historical Museum in Tirana. Another example, which can easily be missed, is the bas-relief on both the north and south sides of the Palace of Sport in the town of Vlora. Even more easily missed are the two interior mosaics on either side of what would have been, in the past, the main entrance to this sports centre.

Bashkia Mosaic – Ura Vajgurore

The more I see of them the more I like the mosaics that were created in the Socialist period of Albania’s history. In many ways they capture a feeling of optimism and hope for the future which other art forms just can’t achieve. Yes, paintings can do that but the very scale of mosaics, out in the public view all the time, just seems more immediate. Mosaics have been around for a long time but in the past representing non-existent, mythical goods or the ‘rich and famous’. Those created in Albania in the 1970s and 1980s put the working class and peasantry into the forefront, showing that their lives are important and, if they but know it and chose to take on the task, that a better future will be theirs. Such is the mosaic on the façade of the Bashkia (Town Hall) of Ura Vajguror, between Berat and Kucove, in the centre of the country.

Radio Kukesi bas-relief

Socialist Albania was a colourful place in its time. Banners would decorate cities on anniversaries of important occasions, such as the Day of Liberation from Fascism, and when conferences and congresses were taking place banners and posters would celebrate these events. Slogans, often quotes from Marxist-Leninist leaders, would call upon the people to work to build Socialism in opposition to a hostile world surrounding the small Balkan country. Many of these symbols of the building of a new society were temporary and would be replaced when another anniversary arose or a different meeting was taking place. However, there were a number of more permanent works of art transmitting this message and one of them is the bas-relief over the main entrance to the local Kukesi Radio Station in the eastern town of Kukes.

Krrabë Miners Panel

There are more than six hundred lapidars so far listed by the Albanian Lapidar Survey but they are not the only examples of Socialist Realist Art that tell the story of the country, especially after Independence in 1944. Although a considerable number of lapidars are in a sorry state, whether due to neglect or outright political vandalism, there seems to be a move, at present, to ‘preserve’ those which are still in existence. However, I’m not aware of a similar programme (whether nationally or locally organised) that pays attention to the many statues, mosaics and panels that celebrate the achievements of the people. The panel to the miners in the small village of Krrabë is one such example.

Tobacco Factory – Durres

The work of the Albanian Lapidar Survey, in documenting and quantifying the monuments throughout the country, has produced an invaluable resource for those who have an interest in the Albanian version of Socialist Realism. However, due to time, resources and the difficulty of identifying the vast amount of examples of a new form of popular expression (made even more difficult with the criminal destruction of the archives of the Albanian League of Writers and Artists) many unique pieces of art were not part of the survey. The concrete bas-relief on the façade of the (former ‘Stamles’) Tobacco Factory, close to the seafront in Durrës, was, therefore, one of those not documented and now it has gone (unless someone with foresight was able to save it) forever.

Gjirokastra College Bas Relief

This small relief, at the bottom of the stairs into a high school in the old part of Gjirokastra, commemorates an event in 1942 when the local students from the gymnasium (college), together with their teachers, demonstrated against, and clashed with, the occupying Italian fascist forces.

Durres War Memorial

The overwhelming number of Socialist Realist monuments in Albania are constructed from either concrete or bronze. However, there are occasional variations from this norm and there are a few mosaics (though not on the massive scale of ‘The Albanians’ on the National History Museum in Tirana) including those in Bestrove, Llogara National Park and at the Durrës War Memorial.

Bestrove Mosaic

Mosaics play a small part in the history of Albanian lapidars but when they do appear they do so in an impressive and memorable manner. Although not strictly a lapidar the most impressive is the huge the ‘Albanian’ mosaic on the façade of the National Historical Museum in Tirana. Also interesting and worth a visit is the mosaic in the Martyrs’ Cemetery of Durrës. Each of these have their distinctive aspects and the mosaic, near the village of Bestrovë close to Vlorë, is another unique monument in its own right.

Bas Relief and Statue at Bajram Curri Museum

The early Albanian lapidars were relatively simple affairs, uncomplicated memorials to those who had died in the National Liberation War against Fascism and for Socialism. Come the Albanian ‘Cultural Revolution’ – starting in the late 1960s – the intention was to use such monuments in a much more educational manner as well as establishing a distinctive Albanian identity. This meant that artists who had been educated and trained under the Socialist regime were encouraged to depict events and memorials in a much more figurative manner. Examples of this approach are seen in the Musqheta monument in Berzhite and in the Peze War Memorial. As the Cultural Revolution moved into the 1980s a new approach developed. This was one where the monument told a story which had developed over time, showing a continuum of the struggle. This is seen, in a truly monumental manner on the Drashovice Arch (close to Vlora) and in the Albanians Mosaic on the façade of the National History Museum in Tirana but also on the more modest, at least in size, bas-relief and statue in the north-eastern town of Bajam Curri – although it also presents some new questions of the meaning of Socialist art.

More on Albania ……

The Albanian Cultural Revolution

Art as a means of promoting Socialism in Albania

Stalingrad (Volgograd) Railway Station

Stalingrad Railway Station

Stalingrad Railway Station

More on the USSR

Stalingrad (Volgograd) Railway Station

It is located in the Central District of the city at Railway Station Square, 1. The station is one of the largest in Russia and serves long-distance trains and suburban trains.

The first railway to serve Tsaritsyn (now Stalingrad/Volgograd) was the Volga-Don railway in 1862. The first railway station was constructed of wood. In 1871 the station was replaced with a brick structure.

Stalingrad Railway Station - October 1942

Stalingrad Railway Station – October 1942

During the Second World War, the building was almost completely destroyed in the Battle of Stalingrad. In the period from July 1951 to May 1954 the new station building was erected on the site of the old building. The station commissioned June 2, 1954. In 1997 the building of the railway station was designated an architectural monument. In 2005, the station building was renovated for the 60th anniversary of Victory Day, the capitulation of Nazi Germany to the Soviet Union in the Second World War.

On December 29, 2013, the station was the site of a suicide bombing in which at least 16 people were killed. The station was re-opened after reconstruction on May 7, 2014, just in time for Victory Day holidays.

The station is a three-story building with a ground floor tower crowned with a spire. The building is made of a combination of brick and concrete, the facade consists of ornamented granite. The interior walls are mainly marble. The ceiling is decorated with stucco and several paintings of the battles that took place in the city.

Text above from Wikipedia.

Aspects of the building;

Sculpture in the pediment at the front of the building

Stalingrad Station - 07

Stalingrad Station – 07

The Apotheosis of Labour – sculptors M. Pavlovskii, N. Pavlovskaya, V. Bezrukov.

I read somewhere that this is supposed to be a ‘copy’ but with no more information. So don’t really understand that as I don’t think this sculpture was installed in the building that was destroyed in the siege – but I might be wrong.

Note the image on the cover of the folder the male on the left is holding – it’s that of the station building itself.

Ceiling murals

There are three of these ceiling panels – one circular over the ticket hall, another circular over the seated waiting area and the third is rectangular in a large room off the ticket hall that used to be a cafe but which is now a VIP/1st Class lounge – which no one seems to use. However, when I asked to take pictures of that ceiling panel, and the room itself, there was no problem.

Stalingrad Station - 05

Stalingrad Station – 05

The first circular panel represents Tsaritsyn/Stalingrad in war – or more specifically, at the very end of war. The first depicts an image of the Red Army in the city after the victory over the White (reactionary and supported by the imperialist countries) forces in 1918 when it was known as Tsaritsyn. Opposite, on the same panel is an image of the events following the defeat of the Nazi invaders in 1943 when the city – now named Stalingrad – could commence reconstruction as the Red Army went on to victory in Berlin.

Stalingrad Station - 04

Stalingrad Station – 04

The second circular panel depicts landmarks in the civilian life of the city. The first, in 1952, is the opening of the Volga Hydroelectric Station and the other is the opening of the Volga-Don canal in 1961.

Note the trees that are on the left and right of each panel, which play the role of separating the two events. In 1918 there is barely a leaf on the tree, there are more come 1943 but when we go into the 1950s and 60s we see the tree come into full leaf, mirroring the successes of the construction of Socialism.

Stalingrad Station - 06

Stalingrad Station – 06

The rectangular panel depicts a bucolic scene of workers on a State/collective farm in the area. Here note the presence of the electricity pylon commemorating the achievement of the electrification of the whole country, a challenge Lenin posed to the country in declarations in the early 1920s.

The artist of all the panels was Yakov Skripkov.

Bas-reliefs at the front of building

Stalingrad Station - 03

Stalingrad Station – 03

On either side of the main entrance to the station, under the tower and clock, are bas reliefs that depict, on the left, a representation of the Civil War and on the right the Siege of Stalingrad in the Great Patriotic War. Note the Nazi standard being trampled underfoot in the second bas relief.

Stalingrad Station - 02

Stalingrad Station – 02

Information boards

Stalingrad Station - 01

Stalingrad Station – 01

On my visit in late May 2024 there were a number of information panels on display on either side of the main station building entrance basically telling the story of the role of the building in the history of the city from the time of the Civil War, through the siege to reconstruction after the war. This was soon after the celebration of Victory Day of May 9th so they may only have been there temporarily.

Terrorist attack

Stalingrad Station - 08

Stalingrad Station – 08

There’s a plaque at the front of the station to commemorate those killed in a suicide bombing on December 29 2013.

Related;

Mamayev Kurgan – The Motherland Calls! – Stalingrad

Children and crocodile fountain – Railway station square

Yaroslavsky station – Moscow

Kievskya railway station – Moscow

Moscow (and Leningrad) Metro

Kazansky Mainline Railway Station – Moscow

Architects (of the building);

A Kurovsky and S Briskin

Location;

1, Station Square, Volgograd

GPS;

48°42′45″N

44°30′49″E

More on the USSR

Moscow Metro – Avtozavodskaya – Line 2

Avtozavodskaya - Line 2 - Ludvig14

Avtozavodskaya – Line 2 – Ludvig14

More on the USSR

Moscow Metro – a Socialist Realist Art Gallery

Moscow Metro – Avtozavodskaya – Line 2

Avtozavodskaya Metro station – now on Line 2 – was one of the seven stations completed during the anti-Hitlerite War and was opened on 1st January 1943. It’s original name was the Stalin Works Station, after the armaments factory that was above ground at that time. This name was changed in 1956 as part of the campaign against Socialism. Avtozavodskaya translates as ‘Car factory’.

Often the art work inside the Metro stations had a relationship with the area that the station served. In 1943 this area was one of heavy industry and some of the images reflect that fact. As time goes by areas change their use and importance in the economy of  the country – especially in Russia as so much fell apart with the chaotic destruction of the Soviet Union. This creates a certain disconnect from the immediate area but the art can give pointers to the past.

It’s also common for there to be military references in those stations completed during the years of the Great Patriotic War as a way of increasing awareness of the need for the people to bear in mind the dangers the country was facing. There’s a permanence with the military references in the Soviet Metro stations but this would have been mirrored in the London Underground with its ‘public information’ (the British don’t use ‘propaganda’) posters. 

All the Moscow Metro stations are bright but Avtozavodskaya is even more so as the columns are narrow and there are no walls between the central corridor and the two platforms. Together with the light bouncing off the tiles and marble that was used in the construction this means that when you come off the escalator you enter a large, bright and airy space, not really what you expect underground. According to the architect’s wife he got his inspiration from reading a book about plants whilst at the same time listening to Bach’s music.

On the Platform

On the platform level there are eight, long, narrow mosaics and four square stone bas reliefs – four and two on each side respectively. Between the bas reliefs there’s an empty space. This is the result of political vandalism that probably goes back to the latter part of the 1950s. If there’s nothing on show now then it almost certainly had a reference to Comrade Stalin, perhaps a mosaic with a meeting with workers, a Party celebration or perhaps, as the station was completed during the war, a reference to Stalin’s role in that war. Whether whatever was there was removed and destroyed or merely covered up I have no idea. There must be photographic records of the stations at the time of their opening but these remain elusive.

The Eight Mosaics

Armaments Factory

Armaments Factory

During wartime virtually all industrial production is given over to those products which support the war effort and for that reason half of the mosaics depict industrial scenes. Whereas the others show aspects of industry in general this one shows a tank production line – this could possibly be the famous T-34. 

In the centre, and dominating the scene, are three, large completed tanks. In the foreground, to the side of the tanks are two groups of workers who are in the process of assembling the chassis of the next generation of tanks. In each group there are two men and one woman, all carrying out the same type of work. Three of the men are using hydraulic bolting tools. This indicates that women were working in industry in an equal capacity as the men, showing how the society had developed in just a generation.

Before the Revolution Russia was just a peasant economy with little industrialisation. That all changed with the rapid development of agriculture and industry in the 1930s. Without that development the Soviet union wouldn’t have been able to confront, and finally defeat the invading Nazis. At the time the mosaic was created the tanks would have been driven out of the factory and then immediately sent to the front.

Collective Farm

Collective Farm

The growth of industry would not have been possible without the mechanisation and collective reorganisation of agriculture – in fact the development of one depended upon the development of the other. The next mosaic shows a scene from the countryside at harvest time at either a large collective or State farm. 

In the centre we see the level of mechanisation with a tractor (with caterpillar tracks) pulling a combine harvester and a lorry alongside to collect the separated grain. Also to show how the role of women had changed since the Revolution a woman is operating the harvester. There’s another harvester slightly behind and to the left of the main subject – this one operated by a man, indicating the interchangeability of roles in the new society.

On the right hand side there’s a man and woman in conversation. She is holding, and reading from a sheet of paper. he is dressed in overalls and holds a wrench in his right hand. At their feet is a set of wheels. He is almost certainly a mechanic, a necessity in the countryside to keep the machinery in working order – especially at the busy time of harvest. She could well be a Brigade leader going through the progress of the jobs he has been allotted or telling him what he should do next.

Here it’s important to stress that it was only in the Soviet Union, at this time, where women were in positions of responsibility and authority. I’m not saying that complete equality existed in the Soviet Union in the 1940s but at least there was an effort to create such a situation. It took the capitalist west more than a generation to get even close.

On the left hand side is a small group of three, two men and a woman. One of the men is much older, with a white beard and wearing glasses. He is not dressed for working in the fields as he is dressed in a white suit. He’s inspecting the ears of the corn which is in the sheaf that the woman is holding. He would be a scientist checking the quality of the harvest. The third member of the group is a younger man, taller than the older man, dressed in farm clothes and sporting a black mustache. He’s looking on the inspection process awaiting for the verdict.

The whole scene is a reference to the way in which Soviet agriculture had to advance. It was bringing mechanisation and industry to the countryside together with advances in science to ensure a bountiful and healthy crop. This is the basis for modern agriculture and was a million miles away from the feudal level of agriculture before the Revolution.

Commercial Port

Commercial Port

The next scene is of a busy commercial quayside – almost certainly not Moscow – which is a hive of activity.

The centre of the panel is the background, across the dock from the quay on which the people are standing. Here we see a large crane in the process of loading (or unloading) a cargo ship, whose mast is right of centre. Behind is the outline of quayside warehouses and on the right there’s steam billowing out from an electricity station cooling tower.

On the right hand side the background is created by the black stern of a large ship that’s tied up to the dock. There are what looks like two chains coming down from the (unseen) deck of the ship to two bollards on the dockside. This is strange as you would never tie up a ship, of whatever size, with chains. I can only surmise that the artist knew nothing about the actuality of a port and guessed at what would have been used. There’s no problem with artists (and intellectuals) not knowing the facts, it’s another that no one sought to enlighten him/her.

Standing on the quay in front of this ship are two people, a man and a woman, involved in fishing. He is still dressed in his oil skins and is holding up a large fish in both his hands. He’s smoking a pipe. The woman is bent over emptying a large basket of fish on to the quay at the same time as looking at the fish the man is holding as if to say ‘It’s been a good catch’. At the extreme right hand edge a number of barrels are stacked and I would think this is for the salted fish that would have been the main way that fish was preserved in the 1940s. Laying parallel to the bottom of the panel is a large fish – this will almost certainly be a sturgeon, long time associated with Russia (for its caviar). 

On the left hand side a group of three men are in the process of loading barrels on to a lorry. The man at the rear of the vehicle is guiding a barrel, which is hanging from the hook on a cable from an unseen crane, on to the flat back of the truck. To his left the other two men are in the process of connecting another barrel to the hoist line. 

The man on the left is older, is dressed in a white suit (a bit inappropriate for dock work I would have thought) , is wearing a cap and holds the hook end of the loose line in his hands. The other man, to his right, is standing behind a barrel ready to help him connect the line. All the three men are wearing large, white protective gloves.

Behind the lorry, and on the edge of the quay, are what could be bales of rope. On the extreme left hand side of the panel is a small stack of sacks, waiting to be loaded  on to the next truck, perhaps. 

Behind this scene a small, two-masted sailing boat is in the process of coming into the picture.

Foundry

Foundry

There are flames everywhere in this scene from a foundry. On the right hand side we see two men guiding a large crucible of molten metal, hanging from an unseen gantry crane. which they’ve just taken from the furnace, the metal giving off a glow at the top. They are taking this over to the left hand side where two other men are in the process of pouring metal into a cast. With large casts the process has to be continuous and organisation is the key. At the cast you can see the white stream of metal leaving the crucible and the whole process is being supervised by a woman who is on the other side of the cast to the men. She is wearing protective googles and a hat but otherwise seems to be wearing ordinary clothes.

The only other person in the scene is a woman who is standing in the middle, between the activity of casting. In her hand she is holding a small piece of testing equipment. It’s close to her eye as if she is looking through a small glass window to inspect whatever is inside. There’s a small hopper at the top of this device which would allow the insertion of what she wants to test. In a foundry everything depends upon the quality of the sand and the moulds into which the metal is poured and I assume that it’s somewhere along the line of this testing process that is her responsibility. She has a clip board tucked under her left arm and she is wearing ordinary working clothes.

There’s a nice little touch at this point in the mosaic. As I’ve said there are flames all around and what the artist has done is to give her a shadow so to her right is a larger silhouette of herself.

Assembly Shop

Assembly Shop

The next mosaic is another industrial scene – this time in an assembly shop. On the right a woman is riding on an early electric fork lift bringing in a container of links for the production of caterpillar tracks. This appears to be an assembly shop for small tracked vehicles, putting these tracks together seems to be what is happening on the left hand side. The size of the tracks are far too small for military use so it’s likely that this part of the factory is making agricultural equipment – as important in the war effort as armaments.

It’s difficult to work out what’s the two men in the centre are doing but it’s obviously another process in the production line. This is only one small part of a very much larger factory as can be seen from the large presses in the background.

Forge and Pressing Shop

Forge and Pressing Shop

We are in another part of the factory for the next mosaic – this looks like the pressing shop. On the right hand side a man is taking a long, heavy piece of metal from the furnace, looking over to his left to see if they are ready for the next piece to process. He grabs the white-hot metal with a long pair of tongs, the weight of the metal being born by a rod that hangs down from a pulley system.

In the centre two men are in the process of the initial shaping of another piece of metal, standing in front of a hammer press which gives the metal close to its final shape. The metal still being hot from the furnace the sparks are flying in all directions. One of the men, on the right, is wearing goggles whilst the other, his right hand holding the long tongs, uses his left hand to hold a welders mask in front of his face. The man on the right seems to be holding a hose which is directed to where all the sparks are flying. Is this a jet of air? i don’t know enough about these processes to be able to say.

The other worker, on the far left, is working alone at another, perhaps smaller press. The metal is still white but it’s shape is now more defined, getting closer to its required format. Standing slightly facing the viewer we can see that he wears full protective gear and goggles.

So here the artist has sought to present three stages of the pressing process. Perhaps these are meant to be the presses seen in the background of the assembly shop. 

The Red Air Force

The Red Air Force

Most of a Soviet twin engine medium bomber dominates the mosaic that refers to the Red Air Force. We know it’s a Soviet plane by the large red star on the tail fin. It’s possibly an Ilushin Il – 4 or a Tupolev Tu – 2.

Standing behind the wings are two airmen (of a three man crew), one with a map in his hands as if they are discussing the upcoming mission. They are possibly the pilot and navigator.

The bomb bays are open and two of the ground crew are loading large bombs by way of a hoist into the aircraft. Standing at the front of the plane, looking up into the air with a pair of binoculars, is possible the third member of the crew – the gunner.

In the background is another bomber sitting on the apron and looking underneath the belly of the aircraft can be seen a truck.

The Red Navy

The Red Navy

The last of the mosaics commemorates the Red Navy and is a very busy picture. In the background, and taking up the full length of the mosaic is a large battleship in full steam – with smoke coming out of its twin funnels and creating significant waves. There’s a red flag flying from the bow with a large golden star.

Dwarfed by the battleship a small, two man speedboat is racing alongside, its bow up out of the water. There’s a red flag from both the bow and the stern. 

On the right of the scene two men appear to be on the top of a coning tower of a submarine. One is already in place and is sending a semaphore message. His comrade is climbing up the steps to join him.

On the left hand side, in the foreground, are three sailors at a bow gun on yet another ship. One of them has a shell cradled in his arms and is about to push it into the open breach. The second sailor is looking ahead as if to work out the settings to make on the gun. Another sailor stands behind the gun but we only see parts of his uniform. 

A couple of things stand out in these mosaics. One is that the skill of the artist is such that all the faces are distinctive and unique. You get an idea of what they are thinking as they carry out their tasks. Another is that women were always represented in an equal manner apart from those images which show the armed forces. Women did take an active and front line role in the Great Patriotic War (I’m not too sure about the Navy) but very often in women only squads.   

Four Bas Reliefs

The bas reliefs are divided equally into rural and industrial scenes but one thing that unites them is the way they have been constructed. They are very large (I can’t say exactly as they are high up and on the other side of a railway track) but instead of being carved on to one piece of stone they are very much like a jigsaw puzzle – but a puzzle that has different sizes of blocks each time.

Aircraft Production

Aircraft Production

Socialist Realist Art is not always realistic. It’s a way of telling a story about the life of the workers and how they are attempting to build a new society. It’s an art form which places workers and peasants at the centre of public images which does not exist anywhere outside of those societies that have made a revolutionary change to the previous exploitative and oppressive society. And we have an example here which introduces unreality into a Socialist Realist image. 

The male kneeling is in the process of servicing an aircraft piston engine, the engineer standing on the right hand side is making notes on a clip board. The hook at the top is ready to take the engine for repair. But in 1943 how many Muscovites would have known where the engine came from? How could they relate to an important part of the defence of their city and country?

That’s easy. Add a couple of men dressed in pilots uniforms and give one of them a propeller which is taller than himself. It’s not very sophisticated but it’s no more strange than Catholic martyrs being depicted with the instruments used in their death. And there’s nothing strange in works of art being produced in a Socialist society which bears the hallmarks of the old society, including its religious imagery. I discussed this in the post about the statue by Odhise Paskali (Shoket- Comrades) in Permet Martyrs’ Cemetery.

Until a new form of art, which has been able to develop outside of the influences of capitalism, then Socialist art will always exhibit aspects, tropes, of that old society. It may look strange but that is all part of the development of ideas and how those ideas can be communicated in a way that ordinary people can understand and appreciate. We must remember that the Constructivists, at the beginning of the 1930s, moved into design and away from painting because ‘paintings could not be understood by the masses’.

Harvest Time

Harvest Time

This is another harvest scene – but it’s difficult to work out which part of the vast Soviet Union the scene is set. I thought perhaps in the Ukraine – as the bread basket of the country – and then Georgia – due to the connection with Joseph Stalin. But couldn’t come to a definite conclusion. The head-dress of the young woman on the right is quite distinctive as are the boots of the woman on the left.

This is the harvest as the woman on the left is dragging a sheaf of grain in both her hands and the woman on the right is plucking fruit from a tree and has a basket of fruit balanced on her right shoulder. One of the children is ‘helping’ the other looks bemused – as does the young foal in the centre of the image.

Life in the Tundra

Life in the Tundra

This is another rural scene but this time from the tundra. But I’m not sure how to interpret what we see. On the far right we have a young woman who’s holding a somewhat struggling goose. Sh’e got a grip of the goose’s left wing under her arm but the goose’s right wing is flapping and fluttering above and in front of her face. She’s also dressed in light summer clothing, as is the little girl at her feet.

The man appears to be putting on a heavy winter animal skin coat and is half dressed for different seasons. When we go further to the left both the woman and the small child (are they the same as on the right but at a different time of year?) are dressed for the harshest of winters, complete with a reindeer.  

Precision Engineering

Precision Engineering

Finally, we have another industrial scene – a little bit more straightforward than the first bas relief, but only a little bit. Here we seem to have different aspects of production brought together but with little clue as to how they fit together.

Of the two central characters the one standing is dressed in a suit and is using a set of dividers on a sheet of paper that’s resting on the knee of the man sitting. This could be a designer explaining to one of the workers what the nature of the task he is asking him to carry out. 

On the right hand side we have a standing worker who is dressed in the same sort of protective gear we saw in the mosaic about the foundry – together with the large tongs to be able to manoeuvre the white-hot metal.

On the left hand side there’s a female worker cradling a cannon shell in her arms so that indicates that the action is taking place in an armaments factory.

There is a tenuous connection between the mosaics and the bas reliefs but I don’t think that in Avtozavodskaya  the connections had been fully thought through. There is much more of a unified theme in many of the other stations.

The more I look at these bas relief the less I like them – a shame when there are so many wonderful examples on the Metro network in general.

At the top of the escalators

The Defence of Moscow

The Defence of Moscow

The large mosaic at the top of the escalators is very different, in many ways, from those that run alongside the platforms below. The materials that make up the mosaic are different; here they are much larger pieces of cut stone, which covers a range from brown through to green and on to yellow. The feel is also different in that this is one of celebration, the celebration of the end of the blockade of Moscow (that lasted from October 1941 to January 1942) and the beginning of the counter-attack which would eventually lead to the destruction of the Hitlerite forces in their own lair in Berlin in May 1945. 

I have no idea of the artist of this mosaic – it’s certainly not Frolov, he would have been trapped in Leningrad when the decision was made to create this celebratory work of art and it’s so very different in style from his other designs in the station.

The design is on two planes. In the foreground we have the Russian Red Army. In the centre, coming straight at the viewer, with its gun barrel pointing at you, is an almost life-size depiction of a tank.This is quite probably one of the many versions of a T-34 tank – the most produced and most successful tank of the Second World War (although the drivers gun should be on the right hand side at the front). However, this tank is not in fighting action, more as part of a celebratory parade as the central figure of three who is standing on top of the tank is saluting.

Presumably he’s the tank commander and on his right, slightly behind, is another tank crew member, wearing the classic Russian ribbed tank helmet. In his hands he holds a gun of some kind (a little indistinct) and he is looking over to his right. Below him, and on the cowling over the right hand caterpillar track, is another soldier behind a heavy, wheeled, machine gun. This is probably a PM M1910 Maxim Machine Gun. (This weapon seems to have had an even greater longevity that the AK47 Assault Rifle – having been produced first in 1910 and versions reported to have been seen in the Ukraine in 2017.)

To the left of the commander is another soldier, facing forward and probably not from the crew, who has the butt of his long rifle – with bayonet attached – resting on the cowling over the tracks of the tank. He’s wearing a greatcoat and has the straps of a dispatch pouch, which rests on his left hip, across his chest. It’s possible to make out a star on the front of his fur hat. To his left is another soldier, kneeling with one knee on the cowling of the tracks, and in his hand he holds a tommy gun – the circular ammunition magazine clearly seen. He also has a star on his hat.

On either side of the principal tank are two other tanks with their gun barrels fanning out. Here we move away from the idea of a celebratory parade and get the impression that these weapons are ready to cover all areas in defence of their city and State capital. There are no people seen on these defensive tanks.

And what they are defending is the city of Moscow. Whereas the tanks and soldiers were in yellow and brownish stone the city itself, in the background, is constructed of gradations of green stone. We know it’s Moscow as three of the iconic towers of the Kremlin are shown with their distinctive red stars. Those stars, lit up at night, still shine to this day. During Soviet times the ‘Hammer and Sickle’ was attached to the stars but unfortunately they have been removed now. The other towers in the image have flags flying from their summits.

Kremlin Star with Hammer and Sickle

Kremlin Star with Hammer and Sickle

In the centre of this representation of Moscow is a strange figure. Merging into the buildings is the upper torso of what looks like a warrior from the 16th century as we have a mustachioed and heavily bearded face and he wears a Turban helmet on his head. Although no hand is visible a large spear is on his left side, the point extending as high as the stars on the Kremlin towers. To make matters even more strange this figure is saluting, mirroring the action of the (smaller) tank commander below.

I can only guess who this is supposed to be. My suggestion is that this is a representation of Tsar Ivan IV ‘The Terrible’. He fits into the time scale and he had a relationship with Moscow (as ‘Grand Prince of Moscow from 1533-1547, before he became Tsar and it was in this period that the St Basil’s Cathedral – the multi coloured, domed building at the end of Red Square – was built). But why he should make an appearance in a celebration of a victory by revolutionary workers and peasants I don’t know.

Ceiling mural

Ceiling mural

If many of the thousands of travellers who pass through this station don’t notice ‘The Defence of Moscow’ mosaic before jumping on to the escalator down to the platform even fewer will be aware of the large ceiling mural that covers most of the area above the vestibule. 

It is a circular design with a sun effect, offset from the centre, which has lines radiating out in all directions. Cupping underneath the sun is the arc of a huge sickle which is made up by different red coloured, parallel sheaves of grain, the staggered heads creating the serrated effect found in most representations of the peasantry in the Soviet emblem. The handle of the sickle is made up of a combination of a maize cob, some more sheaves of corn (flowering) and a sunflower head.

Passing underneath the sickle, close to the handle, and also in red is a large hammer – the representation of the proletariat. This is a geometric presentation of industry with symbols for electricity (the zigzag design and a couple of insulators), coal mining (a couple of underground trucks), girders, cogs and diagrammatic representations of different machinery.    

Just above the ‘sun’ and close to the edge of the main design is a large red, five-pointed star – the symbol of Communism. If we go clockwise from that star we come across different aspects of Soviet society, related to work, leisure and science, all in a simple, basic (even primitive) style.

First there’s an oval sports stadium. from inside this structure a very tall flag pole emerges and it flies a flag with the letters ‘CCCP’ (USSR). Below the stadium is another symbol I haven’t yet been able to work out.

Continuing around next are a couple of male football players, tackling each other for the ball just in front of a goal mouth, part of the net is shown in blue. Below the lower player there are three flowers in front of what might be the outline of a building.

The other side of the handle of the sickle is a large building which might be a school or a Palace of Culture – it’s certainly not anything to do with industry. The building has a large main entrance with steps coming up from street level. There are clouds in the blue sky and to the left of the building there’s a tall tree, and below that are a couple of smaller shrubs. Scattered around the grass in front of the building are numerous flowers. In the bottom corner of this sector is a mask, a common symbol used to denote theatre in general so whether this is suggesting that the building is a theatre or reinforcing the idea of the arts I’m not sure.

The next segments introduce the world of work and industry, more specifically the production of automobiles – which gives the present name to the station. I can’t work out exactly what is happening in the first bit but it seems to me all part of the production line process. The first man seems to be moving things on the line and in the second segment two men are moving a completed internal combustion engine on to a chassis. Next we have a man and a woman beside a milling machine. He seems to be holding a piece of paper in his hand, perhaps the design specifications for the piece of work she is about to create. She is on the point of putting on safety goggles indicating that she is the skilled person to be doing the work – again an example of how advanced the Soviet Union was (even in its Revisionist stage) in moving towards equality between the workers – not perfect but at least heading in the right direction.

That’s the scene inside the factory the next image is of the exterior of the factory, with its smoking chimneys, the smoke being blown in the wind.

The story then moves on to scientific advances. A male is sitting at a what looks like an early computer control console. In his left hand he holds a board, perhaps with data he’s inputting or a series of instructions. This might be a reference to the nuclear industry as the next symbol is one of those for nuclear energy, with three protons circling around a neutron. On the edge of the circle is a meter so this could well be a Geiger-counter.

Finally, as we come almost full circle, we come to the exploration of space. Following the curve of the circle we have the trail of the launch of a rocket (in red). This trail bisects the atmosphere between that of space and the Earth’s. In the darkness of space we see a satellite and crossing between the two we see a capsule returning to Earth, with its parachute deployed to slow it down in the heavier atmosphere. In the background are the stars.

There’s little text in this image but what is there declares the aims of Socialism; CBOБOДA (Liberty), PABEHCTBO (Equality), БPATCTBO (Fraternity) and CУACTЪЮ (Happiness). Also on some of the red lines that swirl around the space around the design can be seen the word MЍP (Peace).

It’s difficult to date exactly this design. It looks to have been heavily influenced by the designs of the likes of Andrey Gulobev and Daria Preobrazhenskaya, who both worked in textiles, in the early 1930s. Looking at the state of the technology I would guess at the late 1970s. The Moscow Summer Olympics took place in 1980 and with the messages in the text it would make sense that this, relatively new addition to the decoration of the station, was created in readiness for this event with many foreign visitors using the Metro.  

Avtozavodskaya station plaque

Avtozavodskaya station plaque

In many of the older and impressive stations there will be a plaque giving information about when the station was opened and who was involved in the construction. These plaques are normally found at the bottom of the escalators to the platforms.

In Avtozavodskaya we know it opened on January 1st 1943 and that it had a name change – as stated at the beginning. Also the architects were Alexey Dushkin and N Knyazev. Dushkin (24th  December 1904 – 8th October 1977) also worked on Kropotkinskaya (1935), Ploshchad Revolyutsii (1938), Mayakovskaya (1938) and Novoslobodskaya (1952) as well as the Red Gates Administrative Building (1953) – one of what are known as ‘The Seven Sisters’, the huge buildings which sour into the sky in the centre of Moscow which were built after the war. I’ve not been able to find out anything about Knyazev.

The mosaics were created by a V Frolov. I think this must be Vladimir Alexandrovich Frolov (1874, St. Petersburg – 1942, Leningrad) as he is the only Frolov mosaic artist I have identified. If this is the case then he would have died (of starvation in the 872 day Siege of Leningrad during the Great Patriotic War) before the work was completed. This would be possible as plans for the construction and the decoration would have been made long before the actual opening of the station. Whether he ever saw any of his designs in actuality is unlikely but it’s almost certain he never saw the completed art work.

When I first started to investigate the history of the Moscow Metro I thought that all of the early stations were built well underground. That’s not the case. Why I don’t know – as yet. Especially as this station would have served the workers of an important armaments factory.

More information on the station;

Avtozavodskaya

Date of opening;

1st January 1943, known as Zavod imeni J.V. Stalina till 1956

Construction of the station;

deep, column, three-span

Architect of the underground part;

A. Dushkin

The architect of Avtozavodskaya A. Dushkin wrote: ‘I like this station because it is made with one breath. It clearly manifests the constructive essence and, a s with Russian temples, the clearness of the working shape’. However, as his wife revived, the design of station ‘Zavod imeni Stalina’ required considerable creative efforts from Alexey Nikolayevich: ‘I remember well how the project of station ‘ZIS’ (now Avtozavodskaya) was developed. My husband made some drafts, which did not satisfy him, he put off the work and was deep in the book of Timiryazev ‘Life of Plants’. He ignored my questions why he needed that and only asked to play Bach’s fugue. When finished the book, he sat down at the drawing-board. He made eleven drafts of the station but chose only one, which was realized. For me the character of the station is music and polyphony. While going down by the escalator, the columns appear one by one and then as if combine in common sounding – as the finale of the cadence brought to key…’.

The design and architecture of Avtozavodskaya is a variation of Kropotkinskaya. The high thin columns support the flat vaults. Starting from the caps, the columns broaden upward and form ribs, which flatten, as if dissolve in the vault, without closing in. The columns are faced with marble of the Altai Oroktoyskoye Deposit – light with black and lilac veins. The walls are faced with marble of the Prokhoro-Balandinskoye Deposit – light, mostly cream-coloured, baked-milk-coloured, ivory-coloured. The floor is covered with black diabase with the geometrical ornamental pattern made of square inserts of red and grey granite.

There are smalt mosaics ‘Soviet people within Great Patriotic War’ (designed by F. Lent and V. Borodichenko, craftsman V. Frolov), forming broad friezes, above the facing of the walls – four on each side. The mosaics of the eastern wall are devoted to workers of ZIS (now ZIL). The western wall glorifies battle and peaceful work of the peoples of the USSR, which is possible due to implements manufactured in the ZIS plant.

The pair bas-reliefs made of greyish-yellowish Moscow limestone are on the walls in the central part of the station – ‘Pilots and constructors’/’Metallurgists and engineers’ (eastern wall) and ‘Peoples of the North’/’Peoples of the Caucasus’.

Southern ground vestibule

The two-storied southern pavilion is coeval with the station. The front is adorned with the semi-columns of Labrador and very high decorative glassed arches of doorways with figured cast bars. The rectangular entrance hall of the station is behind the doors. It is connected with the round hip escalator hall by the wide bow-shaped passageway. Four doors to service rooms are decorated with marvellous cast-iron bars with florid ornament in the Russian ‘grass’ style. The walls of the vestibule are faced with whitish marble of the Uzbek Gazgan Deposit, while the walls of the passageway and entrance hall are with snow-coloured and cloud-coloured marble of the Ural Koelga Deposit. There is a big mosaic panel of many-coloured marble on the wall opposite the escalators – Parade on the Red Square. A partisan with a Maxim machine-gun, pilot, tank commander, soldier with a Mosin rifle, fighter with a Shpagin submachine-gun are on the armour of the tank, forming a pyramid. The central figure of the composition is the saluting tank commander. An epic hero with ancient Russian helmet as a mount rises behind the defenders of the Motherland. He covers his eyes with his hand looking at onlookers who seem that he also salutes. The Kremlin on the background is reliably protected.

The vault of the entrance hall is decorated with painting on plaster – ribbons, orders, sparks of salute, sketches of work and rest of ZIL workers. There are also words: Peace, Labour, Freedom, Equality and Brotherhood.

Text from Moscow Metro 1935-2005, p82/3

Location:

Danilovsky District, Southern Administrative Okrug

GPS:

55.7074°N

37.6576°E

Depth:

11 metres (36ft)

Opened:

1 January 1943

More on the USSR

Moscow Metro – a Socialist Realist Art Gallery