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The Worker and Collective Farm Woman monument is a symbol of the socialist era, the personification of the union of the working class and the peasantry, who together were able to win in October 1917. Today, the majestic sculpture, created for the Paris exhibition of 1937, is installed at the Nort login to VDNKh. Every year, this attraction is visited by thousands of tourists and residents of Moscow, because the sculpture is installed not just on a pedestal, but on a pavilion with interesting expositions.

Work on the project of the monument

The ideological creator of the sculptural composition was the architect Boris Iofan. On the shoulders of Vera Mukhina lay the artistic embodiment and preparation of the monument for the exhibition. However, the two creative personalities had a radically different view of the work.

Option B. Iofan Iofan immediately decided that the sculptural composition would be two-figured. The prototype for the man was the ancient statue "Tyranoslayer", and for the woman - the ancient Gr

eek "Nike of Samothrace". According to Iofan's idea, the figures should have become a logical continuation of the pavilion on which they were installed. The man was naked, the woman in thin clothes. They walked almost merging with each other, step by step. Rushing forward, the worker and the collective farm woman raised up the symbols of the USSR - the hammer and sickle.

But at the same time, the composition lacked lightness and dynamics. The sculptures did not develop the architecture of the pavilion. And there were too many verticals in the whole structure. Boris Iofan was aware of this shortcoming and tried to level it by adding a fluttering flag on male hips to the composition. This did not solve the problem, and the idea, which was to be implemented soon, went to Mukhina in a rather "raw" form.

V. Mukhina's variant Vera Mukhina did not see the Worker and Collective Farm Woman monument as just a continuation of the pavilion. In her opinion, each of these elements had to retain its specificity in an overall harmonious image. She was also embarrassed by the architecture of the pav

ilion, which from the front looked like a pedestal for the sculpture and distorted its size. After a long and painful creative search, Mukhina came to the only right decision - to use a horizontal construction for sculptural volumes. It remains to bring it to life. And at that moment, a legendary scarf appeared in the hand of the “collective farmer”.

He gave the monument dynamics, swiftness and much-needed horizontality, harmoniously emphasized the connection of the figures with the pavilion. The folds on the girl's flying skirt only enhanced the effect achieved. Another find by Mukhina was the transformation of overweight figures into an elegant, flying composition. This was done by adding air - free space between the individual elements of the statue. Because of this, the sculpture even acquired a certain delicacy. Coordination of the project Coordination of the sketch created by V. Mukhina was also not without excesses. It had to be improved. The "worker" had to be dressed, since, in accordance with Iofan's plan, he remained naked. Then the guy got a jumpsuit. And the "collective farmer" was ordered to remove the bags under the eyes.

Also, the admissions committee did not like the scarf. Mukhina had to defend her creation, arguing that without a scarf, the sculpture would lose its connection with the pavilion. Her opinion was listened to, but one concession still had to be made. Initially, the scarf was doubled, but turned into one stripe.

Production of the monument and the pavilion

After the approval of the sketch, it was necessary to start creating a reduced model of the monument "Worker and Collective Farm Girl". To minimize the possibility of inaccuracies and errors, it had to be at least one-fifth of the sculpture's original size. Mukhina no longer had time for this. Lvov P.N., the chief engineer of the plant from the Institute of Mechanical Engineering and Metalworking, helpe

d. He offered Vera to create a meter-long model of the sculpture, which he then undertook to enlarge 15 times! He also proposed the use of chromium-nickel steel for casting parts and developed the technology of spot welding to connect them.

Parts templates were made of wood. Steel elements were knocked out already on them. This technology was not suitable for heads, so clay ingots had to be made. "Worker and Collective Farm Woman" at VDNKhFigure 5. "Worker and Collective Farm Woman" at VDNKh Some figures about the process of making the monument

"Worker and Collective Farm Woman":

• the work was carried out in 3 shifts;
• 160 people were involved in the installation;
• 30 meters and 5 tons - this is how the elegant scarf of the "collective farmer" turned out;
• for work, a crane 35 m high with an arrow of 15 m was used;
• the thickness of the template boards was 15 cm;
• the frame of the sculpture weighed 63 tons;
• sheathing weight - 12 tons;
• skin thickness - 0.5 mm.

Immediately after the manufacture of all the details, the monument was ready for transportation to Paris.

Exhibition in Paris and return to Moscow

The monument "Worker and Collective Farm Woman" went to Paris divided into 65 parts. Together with tools, he occupied 28 railway wagons. Boris Iofan himself met the valuable cargo and Mukhina with the engineer Lvov in France. They began to collect the sculpture even before the final f

acing of the pavilion. In some places, the steel sheathing was wrinkled and had to be straightened on the spot. The gaps between the elements were sealed with thin steel strips. All work was completed 2 days ahead of schedule. The monument was a success in ParisFigure 6. The monument was a success in Paris The Soviet pavilion with a sculpture of a worker and a collective farm woman was a huge success. His photographs were published in all newspapers, and soon images of the monument appeared on souvenirs - tokens, scarves, inkwells. Interesting fact! In an interview, Vera Mukhina said that she was not entirely satisfied with her work. She saw in it some technical and artistic shortcomings. After the Paris exhibition, the monument "Worker and Collective Farm Girl" was dismantled and sent back to Moscow. For certain political reasons, Mukhina was not allowed to dismantle the structure. This led to the fact that workers unfamiliar with the structure of the sculpture almost barbarously cut it into 44 parts. In Moscow, the sculptural composition was reassembled, the lining was replaced with a thicker one, and almost half of the frame was remade. "Worker and Collective Farm Woman" adorned the main entrance of the All-Union Agricultural Exhibition (now - VDNKh).

Restoration of the monument "Worker and Collective Farm Woman"

For almost 70 years, the monument stood in its original form. In 2003, it was decided to carry out its restoration. The work was completed only in 2009, their total cost amounted to a little more than 2.9 billion rubles.

Preparing for restoration What was done:

• all the necessary measurements and calculations were carried out;
• a new frame was designed, consisting of load-bearing, intermediate and structural elements;
• new materials with high resistance to corrosion h
• ave been developed;
• a computer spectral analysis of each of the
• 40 parts into which the monument was dismantled was carried out;
• more than 1 million weld points were radiographed;
• all elements of the monument were cleaned and then treated with a unique anti-corrosion paste, which took about a ton.

The new pavili on began to resemble the project of B. Iofan, only because of the size of the allocated plot of land, its length had to be reduced to 66 m. The facade was decorated with a real coat of arms of the USSR, created for the Paris exhibition of 1937.

Visiting the monument and pavilion at VDNKh

Everyone walking around VDNKh can see the monument "Worker and Collective Farm Girl". If you wish, you can visit the pavilion of the same name, divided into 3 floors. The monument never ceases to amaze Various exhibitions, lectures, thematic film screenings, and conferences are held he

re. One of the permanent exhibitions is devoted to the creation of the pavilion and the sculptural composition crowning it. Their layouts, archival working documents, photographs and personal belongings of V. Mukhina, B. Iofan are exhibited.