During the first post-revolutionary years, the Soviet state was showing a keen interest in the possibilities of monumental art as a means to endorse the new ideology. They worked out a plan for monumental propaganda, however, the civil war and its ruin prevented its use on a large scale. a. Mukhina got involved in monuments project making. But none of her 4 projects was put into life. The sketch for a monument to Y.M. Sverdlov - V.I. Lenin's associate, secretary of the Central Committee of the RSDRP(b), chairman of All-Russia Executive Committee (VTsIK) - was designed as a romantic image to express the apotheosis of revolutionary struggle. It portrayed the genius of revolution with a torch in his hand. The figure seems to be struggling against a powerful gust of wind. The motif of confrontation is embodied in the stubbornly lowered head and outstretched arms, the inclination of the whole figure that finds firm support on the base slope. Especially impressive is the drapery, which creates powerful volumes independent of the figure's plasticity. Those volumes look like sails swelled by the wind and create a sensation of flight. This motif, which found its expression in more realistic forms, was revisited by Mukhina in a version of the monument The Chelyuskin Rescue (1938).
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