Dolgorukov, Nikolai Andreevich
Долгоруков, Николай Андреевич
Born Ekaterinburg, Russian Empire, 1902; died Moscow, 1980
In 1928, Nikolai Andreevich Dolgorukov moved from his native Ekaterinburg to Moscow in order to attend VKhUTEIN [Higher State Artistic and Technical Institute]. After the organization dissolved in 1930, Dolgorukov continued his studies at the Moscow Polygraphic Institute under the tutelage of artists Lev Bruni and Dimitri Moor. Dolgorukov's training was in illustrated political satire as well as in poster design and each of these areas became the main focus of his long career. After graduation, he collaborated with fellow poster artist Viktor Deni. The duo went on to design a host of iconic Soviet posters during the 1930s and 1940s. Dolgorukov also created illustrations for a number of prominent newspapers: Krasnaia Zvezda [Red Star] (1933), Pravda [Truth], (1934), Izvestia [News] (1949), and for numerous journals including Proektor [Projector] (1932-1935), Sovetskii Soldat [Soviet Soldier] (1941) and Iskra [Spark] (1942). He produced a variety of popular posters, such as Under the Banner of Lenin toward the Formation of a Classless Society (1932) and Five-Year Plan (1933; co-authored with Deni). During World War II, he remained active as a graphic designer and a cartoonist producing a myriad of posters including, We'll Sweep Away the Fascist Barbarians (1941) and The Enemy Will Not Have Mercy! He contributed two poster designs to the Soviet telegraph TASS Studio between the autumn of 1942 and the autumn of 1943. At the 1948 International Poster Exhibition in Vienna, Dolgorukov was awarded the 1st prize for two of his posters: Everyone Votes For the Elections to the Supreme Council of TurkmenSSR (1947) and The Warmongers Must Remember the Ignominious Fate of their Predecessors (1948; co-authored with Boris Efimov). Dolgorukov was awarded the title Honored Worker of Arts of the Russian Soviet Federated Socialist Republic in 1968 and in 1969, he received a gold medal from the Soviet Foundation for Peace. He actively exhibited abroad: Danzig (1930); Brussels (1932); Chicago, Madrid, and Paris (1933); London (1943), Wroclaw (1953); Berlin (1960), Warsaw (1962) and, he had his own retrospective show in Prague in 1969. His works were acquired by major Soviet museums, including the Moscow State Museum of the Revolution (State Central Museum of Contemporary History of Russia) and in fine art museums, such as the Moscow Pushkin Museum and The State Tretyakov Gallery, Moscow. Dolgorukov published articles and essays on poster production in Pravda and Izvestia as well as authoring a number of books, including Stranitsy zhizni [Pages of Life] (1963) and Vstrechi i vpechatlenia [Encounters and Impressions] (1963).
Sources & Citations
Konstantin Akinsha and Adam Jolles, "Hand-Painted Propaganda: The Tass Poster Studio," Windows on the War: Soviet Tass Posters at Home and Abroad (1941-1945), ed. by Peter Kort Zegers and Douglas Druick (Chicago: The Art Institute of Chicago and New Haven: Yale University Press, 2011), 34, 37, 382.
S. A. Onufrieva, Nikolai Andreevich Dolgorukov Stanitsy Zhizni (Leningrad: Khudozhnik RSFSR, 1963).
Bibligraphicheskii slovar': Khudozhniki Narodov SSSR, vol. 3 (Moscow: Iskusstvo, 1970), 429-430.
Boris S. Butnik-Siverskii, Sovetskii plakat epokhi Grazhdanskoi voiny, 1918-1921 (Moscow: Vsesoyuznaya knizhnaya palata, 1960), 35, 37, 41.