Sheep magazine Archive 2: issues 10-17


Lefty online magazine: issue 10, May 2016 to issue 17, November 2016

The black-and-white ink drawing, which was often accentuated

with sharp (usually red) colors, became his favourite technique. In

his venomous satires Dmitry Moor conveyed the surrounding social

disintegration and struggle against censorship: mini-comic book

Humorist and Finger (that is Censorship finger), 1911; drawing

the Russian Resorts – treatment by water and iron, – about Lensk

execution, 1912.


His posters of the revolution and Civil war period turned to be

milestones of the epoch. The modernist style with its flexible and

strong-willed “power lines” reached the peak of propaganda heat,

which was effective in directing public emotions (in fact the satire itself

here became a part of repressive political censorship). Such was, for

example, the image of an emaciated old peasant appealing for help

(see opposite) in the poster Help! Stuck near church entrances, it

was dramatically convincing people about the justice of taking church

finances under the slogan “help those starving in the Volga Region”.

An essential element of Moor’s creativity was antireligious satire as

such (the drawings created while being the art director of the Atheist

at the Machine magazine, 1923-1928; a series of illustrations to G.

Heine’s poem Debate, 1929). He also contributed for the central

Pravda newspaper and (1920), and the popular satirical Crocodile

magazine (from 1922) and other periodicals, as well as created

film posters.


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