Skip to main content

Tattoo You



One of my recent discoveries is Danzig Baldaev, a graphic artist from the Soviet Union who became famous for his illustrations of tattoos he copied while serving as a prison guard in Leningrad.  Fuel publishers has generously reprinted these illustrations in three volumes.  The tattoos served as an inspiration for David Cronenberg, who liberally borrowed from the tomes in illustrating Viggo Mortensen and other characters in Eastern Promises.

But, what caught my eye was a collection of Baldaev's political cartoons, simply entitled Soviets, which cover a broad range from the mid 1950s to 1991 when the Soviet Union collapsed.  Baldaev is not only a fine illustrator, but has a wonderful dark humor that is obviously a product of his years as a prison guard.  Needless to say, these cartoons weren't published in their time.  Baldaev also offers a collection of cartoons in the same vein entitled Drawings from the Gulag.

Robert Crumb has nothing over Danzig, who survived the Soviet period and lived to tell his tale in pictures.  The first volume of criminal tattoos was published before his death in 2004, with the latter volumes coming post-humously.  The illustrations are accompanied by searing photographs by Sergei Vasiliev from 1989-1993.

Comments

  1. "The Mark of Cain" (2000) is a very good documentary movie on Russian prison tattoos. Worth seeing if you haven't already.

    There was an exhibit of American prison tattoos in D.C. during the 90's that was very interesting as well, very different from the Ruskie ones.

    ReplyDelete

Post a Comment

Popular posts from this blog

Ward No. 6

Ward No. 6 is a short story written by Chekhov in 1892.  It has appeared in various collections of Chekhov short stories, including The Horse-Stealers and Other Stories translated by Constance Garnett in 1921.  In this story, Chekhov explores the inner working of a run-down lunatic asylum in a provincial town.  He  introduces the readers to a coarse porter who speaks mostly with his fists, various patients, a doctor who presides over this ward, and expresses his thoughts with a local postmaster.  It was recently made into a movie , featuring Vladimir Ilyin.  Here's a clip . There's also this very recent short film (30 min.) by Suzana Purkovic, with English subtitles.

Light and Dark

I'm still trying to sort out the ending.  The story had to end tragically but was surprised that Rogozhin actually sought forgiveness in Myshkin after what he had done to Nastya, although I think that Dostoevsky intended the two to be read as one, along similar lines as The Double .  He kept Rogozhin a shadowy figure throughout the novel, ever lurking in the dark of the Prince's soul.  Try as he might, Prince Myshkin could not alter events and thus the fantasy world he had lived in upon returning to Russia crumbled before his eyes, leaving him at a total loss as how to reconcile himself with it. Once again, Dostoevsky plumbs great depths of the human soul.  This is a psychological drama told in theatrical terms, perfectly suited for the stage.  Characters appear and disappear as if moving from the shadows of the stage.  I can see the "green bench" as the central stage piece.  In the final part, one gets the sense that Lebedev is orchestrating event...

The Morning of Our Motherland

I was watching a History channel special on Socialist Realism art of the Soviet Union and this was one of the grand canvases that is now stuffed away in the Tretyakov State Gallery .  The painter was Fyodor Shurpin and he had a wonderful eye for detail, right down to the secret service black car on the road to Stalin's right.  To the left, one sees a row of combines turning over the field of golden wheat, which became symbolic of Stalin's Soviet Union.  Утро нашей Родины is from 1949, with Stalin radiating a post-war confidence.  It is also known as  Dawn of our Fatherland and other titles. Shurpin was one of the better artists to carry over from the pre-war years.  The narrator pointed out how socialist realist art changed dramatically as a result of the war, becoming much more static and propagandist in appearance.  He pointed to two stops along the Moscow subway as an example of this divide.  Here, Shurpin essentially transposes Stalin fo...