There were no better nipples and no, I'm ready to suck up to the old years. Are sold everywhere. Rezinotrest. (Rodchenko A., Mayakovsky V.) Soviet Posters (1917-1941)

The image is a Soviet propaganda poster, likely an advertisement, created by Alexander Rodchenko and Vladimir Mayakovsky in 1923. The poster features a stylized, cartoonish character with a large, round head divided vertically into red and green halves. This head has two very large, white, circular eyes with black pupils, and a wide, toothy grin. The teeth are depicted as a row of what appear to be bullet-like shapes, some of which are black and bulbous, others white and conical. The character has a small, dark-colored torso and outstretched, star-shaped white limbs that resemble bursts of energy or motion.

The text at the top of the poster, in bold, blocky letters, reads ЛУЧШИХ СОСОК (LUCHSHIKH SOSOK), translating to BEST NIPPLES. Below this, in smaller text, is Не было и нет (NE BYLO I NET), meaning There were none and there are none.

The central section features a circular emblem with the letters CCCP (USSR) inside a triangle, indicating the Soviet context.

Below the character, more text proclaims: ГОТОВ СОСАТЬ ДО СТАРЫХ лет (GOTOV SOSAT DO STARYKH LET), which translates to Ready to suck until old age. This is followed by ПРОДАЮТСЯ Везде (PRODAYUTSYA VEZDE), meaning Sold everywhere. Finally, the word РЕЗИНОТРЕСТ (REZYNOTREST) is prominently displayed at the bottom, identifying the manufacturer as Rubber Trust.

Subtext:

The poster is a prime example of Constructivist art and Soviet propaganda, using bold graphics and provocative slogans to sell a product.

• Subversion and Double Entendre: The most striking aspect is the provocative use of the word сосок (sosok), which literally means nipple. In this context, it almost certainly refers to rubber nipples for baby bottles, given the Rubber Trust affiliation. However, the aggressive and sexually suggestive imagery (the teeth looking like bullets, the overtly wide grin, the phrase ready to suck until old age) imbues the poster with a strong double entendre. It plays on a taboo subject matter to grab attention, a common tactic in early Soviet advertising aiming to break from old norms and shock the public into a new way of thinking and consuming.

• Modernity and Progress: The bold geometric shapes, stark color contrasts (red and green), and dynamic composition are characteristic of Constructivism, emphasizing modernity, industrialization, and the new Soviet era. The character, despite its potentially unsettling grin, is presented as energetic and forward-looking, symbolizing the vigor of the new state.

• Aggressive Marketing: The slogan There were none and there are none (implying these are the only and best nipples) and Ready to suck until old age are forms of aggressive, attention-grabbing marketing, designed to make the product memorable and desirable. The bullet teeth might also subtly connect the product to strength and durability, or even link it to the revolutionary fervor of the time.

• Censorship and Interpretation: The double meaning of sosok would have been readily apparent to the audience, but the official aim was to promote a practical product. The juxtaposition of the overtly suggestive imagery with the mundane product is a hallmark of Mayakovskys poetic and advertising style, where he often employed shock tactics and unconventional language to convey his message. The poster reflects the eras boldness and willingness to push boundaries in art and advertising, even if it meant using potentially controversial imagery for commercial purposes.