Remembering Erik Bulatov, the Soviet artist who reframed propaganda – The Artwork Newspaper

Erik Bulatov, the Soviet-born artist who turned a key determine within the underground motion of the Seventies and 80s, recognized for philosophical works combining Communist Occasion slogans with radiant, expansive landscapes, died in Paris on 9 November. His use of ideological texts layered over light-filled skies left house for a number of interpretations, enabling his works to be publicly displayed even in Vladimir Putin’s heavily-censored Russia.

Bulatov belonged to a small circle of nonconformist modern artists, together with Ilya Kabakov, Oleg Vassiliev and Viktor Pivovarov, who examined the boundaries of Soviet creative dictates. Although topic to state stress, they operated with a level of freedom by illustrating youngsters’s books. The group turned recognized within the Seventies, after the tip of Nikita Khrushchev’s Thaw, because the Sretensky Group, named after the boulevard in central Moscow close to their studios.

Bulatov’s most costly work, the monumental 1975 canvas Glory to the CPSU, juxtaposing the phrase over a serene sky of blue and white clouds, evokes Russian iconography, Soviet symbolism, and Sots Artwork, the Soviet equal of Andy Warhol’s Pop Artwork. The portray offered for $2.1m in London in 2008 at Phillips de Pury & Firm, now Russian-owned Phillips. In 2025 The Artwork Newspaper Russia ranked Bulatov the most costly residing Russian artist, surpassing the previous Sots Artwork duo Vitaly Komar and Alexander Melamid.

“Many individuals do some issues for the state and earn the power to do what they need for themselves,” Bulatov instructed The New York Instances in 1986 in a report on the underground artwork world, which described the strict controls the Soviet state exerted over exhibiting and exporting artwork, in addition to the cracks starting to seem beneath Mikhail Gorbachev’s management.

A uncommon sale to the west

That yr, Bulatov’s Image with the Mark of High quality—its title referencing a Soviet image positioned on top-tier export items—was bought in Moscow via Soviet authorities by a Western collector who had seen it on the Chicago Worldwide Artwork Exposition, to which it had been briefly authorised for export. On the time, direct international gross sales of Soviet artwork had been nonetheless prohibited.

Bulatov and his spouse Natalia moved to New York in 1989 and within the early Nineteen Nineties settled completely in Paris. In his memoirs, recorded throughout a hospital keep and printed in Moscow in 2025 as Erik Bulatov Tells his Story, he mirrored on Glory to the CPSU, calling it his “most profitable portray of that point”. At first look, he stated, the work resembles a propaganda poster, however its intentions run deeper.

“It seems that the slogan ‘glory to the CPSU’ is written not on the sky, however on the floor of the portray,” he defined. “This flat floor establishes the boundary of the crimson letters’ dominion, past which they don’t have any energy. The letters, which initially appear to be a grid separating us from the sky, develop into a system of home windows and portals via which we are able to seemingly move. Thus, all three parts that represent the total spatial prospects of the portray are used right here: the letters characterize reduction portray, the sky represents the window portray, and the floor represents the boundary between them. Furthermore, phrases are a picture of social house, the floor is the boundary of social house, and the sky is the house on the opposite aspect of the social boundary. For me, this portray is a system for freedom.” One other of his celebrated works juxtaposes the phrase svoboda (freedom) in white in opposition to a blue sky layered above the repeated phrase “freedom exists” in black, a visible paradox questioning the very thought it asserts.

Bulatov was born in 1933 in Sverdlovsk, now Yekaterinburg, the town the place the Romanovs had been executed and the place Boris Yeltsin rose to energy earlier than in the end paving the best way for Vladimir Putin. Like lots of his technology, he grew up figuring out nearly nothing of his household’s ancestry; social origins had been typically hid or erased within the Soviet Union. His father Vladimir was a celebration employee despatched to Sverdlovsk, and his mom, Raisa, born in Poland, got here to Moscow as a supporter of the October Revolution. She later “started to know that not every part was so easy within the USSR”, Bulatov stated. The household returned to Moscow throughout his childhood, the place he started drawing at an early age. His “blissful childhood”, he stated, ended abruptly on 22 June 1941 with the German invasion of the Soviet Union.

Bulatov studied on the Surikov Artwork Institute in Moscow, the place the graphic artist Vladimir Favorsky turned a significant affect. Bulatov was additionally deeply affected by his encounters within the Fifties with Robert Falk, the avant-garde painter who had lived in France earlier than returning to the USSR. “Sadly, these discovering Falk’s work in the present day can’t expertise the identical impression that they had on those that noticed them within the Fifties, throughout [his] lifetime,” Bulatov wrote. He met Falk via his mom’s connections inside the remnants of Moscow’s pre-revolutionary intelligentsia.

Studying to assume as an artist

Favorsky, he recalled, “taught me to assume and perceive” as an artist, in distinction to the educating system at Surikov, which left Bulatov and his classmate Vassiliev feeling that “all our expertise and data are nugatory”. Solely a lot later did Bulatov grasp that Falk and Favorsky, although having many variations, shared one essential perception: that house—not the article—determines an artist’s worldview and the that means of their work.

In a 2018 video YouTube interview that was a part of Moscow’s State Tretyakov Gallery’s The Artist Speaks sequence, Bulatov explains why he stopped utilizing Soviet symbolism. He harassed that he had by no means thought of himself a dissident. “In precept, I all the time labored with the fabric that my very own life provided me,” he says. “That Soviet materials ended. It was completely clear. Not at all did I wish to exploit it any additional. It was one factor when it was harmful and scary, however as soon as it appeared previously, to snigger at it or mock it felt undignified.”

Within the video, as he walks via the Tretyakov galleries, he pauses at a piece by Arkhip Kuindzhi, the Nineteenth-century Mariupol-born artist with Greek ancestry who was claimed by Russia as its personal. “For me, all of Kuindzhi is on this small panorama,” he says. “This colossal house of the earth, and there’s nothing right here, not a single object. Nothing for our eye to catch. Nevertheless it seems this may be completed—to make solely house, mild and air, and so they exist in absolute actuality. It’s unimaginable. I don’t assume there’s the rest like this in world artwork.”

Ukraine silence

Bulatov, who professed affection for Moscow and stated he by no means felt like an émigré, didn’t publicly condemn Russia’s invasion of Ukraine. This silence helped allow tributes from throughout the spectrum: dissident shops overseas, life-style media and even Russian state-run information businesses.

Upon his dying, Blueprint, a Russian on-line trend and tradition publication, printed an interview from the earlier yr by which Bulatov mentioned one among his final portray sequence, of works depicting doorways, and artists who influenced the sequence. “The primary was a black portray with a small crack, barely ajar, and white mild shining via it,” he recalled. “The second was with Velázquez, referred to as The Open Door—once more, there’s mild coming via the portray towards us, and every part we see, we understand as actuality—the sky, the clouds and the earth. The door is open, and we’ve got a alternative—to enter or not. As for the black door, just one factor is necessary right here: the sunshine that shines via the cracks comes from beneath the black. It doesn’t fall on the black from above, however is mild from the depths, from behind the door.”