Soviet propaganda in the context of "Stalin's cult of personality"

The Soviet Union introduced collectivization (Russian: Коллективизация) of its agricultural sector between 1928 and 1940. It began during and was part of the first five-year plan. The policy aimed to integrate individual landholdings and labour into nominally collectively-controlled and openly or directly state-controlled farms: Kolkhozes and Sovkhozes accordingly. The Soviet leadership confidently expected that the replacement of individual peasant farms by collective ones would immediately increase the food supply for the urban population, the supply of raw materials for the processing industry, and agricultural exports via state-imposed quotas on individuals working on collective farms. Planners regarded collectivization as the solution to the crisis of agricultural distribution (mainly in grain deliveries) that had developed from 1927. This problem became more severe as the Soviet Union pressed ahead with its ambitious industrialization program, meaning that more food would be needed to keep up with urban demand.

In October 1929, approximately 7.5% of the peasant households were in collective farms, and by February 1930, 52.7% had been collectivised. The collectivization era saw several famines, as well as peasant resistance to collectivization. Resistance took the form of protests and armed resistance amongst peasants to the Soviet regime.

Joseph Stalin's cult of personality became a prominent feature of Soviet popular culture. Historian Archie Brown sets the celebration of Stalin's 50th birthday on 21 December 1929 as the starting point for his cult of personality. For the rest of Stalin's rule, the Soviet propaganda presented Stalin as an all-powerful, all-knowing leader, with Stalin's name and image displayed all over the country.

El Lissitzky (Russian: Эль Лиси́цкий, born Lazar Markovich Lissitzky Russian: Ла́зарь Ма́ркович Лиси́цкий, listen; 23 November [O.S. 11 November] 1890 – 30 December 1941) was a Russian and Soviet artist, active as a painter, illustrator, designer, printmaker, photographer, and architect. He was an important figure of the avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union.

Lissitzky began his career illustrating Yiddish children's books in an effort to promote Jewish culture. He started teaching at the age of 15, maintaining his teaching career for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he moved to Weimar Republic. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany.