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Markov-Grinberg photograph of 8 white horses pulling wagons in a barren landscape

Object | Accession Number: 2005.552.2

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    Brief Narrative
    Photographic print of horses pulling carts, created in 1936 by Mark Markov-Grinberg, a Soviet Jewish photographer and World War II correspondent. Markov-Grinberg was a major Social Realist photographer during the Stalinist era of the 1930s-1940s. He worked for major newspapers and journals, including TASS. He was a war correspondent during the Soviet-Finnish War from 1939-1940 and, in 1941, was drafted to fight in World War II. While a soldier, he continued his work as a photographer and army correspondent. After the war, he returned to his job at TASS.
    Artwork Title
    Horsedrawn Sleighs
    depiction:  1936
    creation: Russia
    Credit Line
    United States Holocaust Memorial Museum Collection, Gift of Joanne and Will Potter
    back, center, Russian script, pencil : M. Markov-Grinberg
    Artist: Mark Markov-Grinberg
    Subject: Mark Markov-Grinberg
    Mark Borisovich Markov-Grinberg was born on November 27, 1907, in Rostov-on-Don, Russia. He learned photography at secondary school. In 1925, he took his first job as a photographer for the Sovetsky Yug (Soviet South) newspaper and worked as a freelance correspondent for Ogonyok magazine. In 1926, Markov-Grinberg moved to Moscow and worked for various trade union newspapers and the magazine, Krasnoarmeyskaya Smena (Transformation). In 1930, he accepted an offer to work for the Fotokhronika TASS (Telegraph Agency of the Soviet Union). He traveled around the country photographing the official Soviet Union: major construction projects, collective farms, and happy workers engaged in building Soviet Society, as well as prominent Russian and foreign personalities. His photographs appeared in major Soviet publications, including USSR in Construction, a magazine that documented Stalin’s Five-Year Plans to industrialize the Soviet Union. In 1934, TASS commissioned Markov-Grinberg to create a photo essay detailing a day in the life of Ukrainian miner, Nikita Izotov. He created an iconic portrait of Izotov as a Socialist worker hero. The Izotov photo essay launched Markov-Grinberg's career as a Stalin-era photographer and he became one of the most important photographers of his generation. His work was part of the socialist realist movement in photography which pictured life as it should be in idealized images made to look like objective recordings of things as they were.
    During the Soviet-Finnish War (1939-1940), Markov-Grinberg worked for TASS as a war correspondent and documented the fighting on the Karelian Isthmus. In September 1941, he was drafted into the Red Army, and continued to take photographs. He became the army correspondent for the military publication, Slovo Boitsa (Soldier’s World), in July 1943. He created well-known images of the Battle of Kursk and the crematorium at Stutthof concentration camp, when it was liberated on May 9, 1945, by the Soviet Army.
    Markov-Grinberg lost his job with TASS in 1948 as a result of the anti-Semitic climate of late Stalinism. After his demobilization in 1953, he worked as a photographer for the Red Army Illustrated Gazette and, later, for the photography publishing office of the Soviet Union Agricultural Exhibition, a theme park about the People’s Economy. From 1957–1973, Markov-Grinberg worked for the Club and Art Hobby magazine. He took part in photography exhibitions in the USSR and abroad. An honorary member of the Russian Union of Art Photographers, Markov-Grinberg died in 2006 at the age of 99.

    Physical Details

    Physical Description
    Black and white gelatin silver photographic print depicting a line of horses and carts. In the foreground the land is covered in short grass. Across the middle ground 8 white horses pull 2 open carts with spoked wheels. The horses wear bridles and blinders, and are reined to the carts. Three men, possibly military, occupy the cart farthest left. The driver is seated and 2 men stand behind him, the one on the right partially obscured; all wear long coats and hats with chin straps. The horses run in a linear formation, the left team in a disorganized fashion compared to the right. They block out the carts except for the wheels, which are visible through the horses’ legs. Between the 3rd and 4th horses, there is a limited view of the heads of 2 men and the arm of a third. The land, horses and sky are positioned linearly across the frame and 3 faint shapes on the horizon, to the right, suggest trees. Inscribed on the reverse are the artist’s signature, the year and the title, letters, and numbers.
    overall: Height: 10.880 inches (27.635 cm) | Width: 14.120 inches (35.865 cm)
    overall : paper, emulsion, gelatin silver print, graphite
    back, center, pencil : 1936 [Symbol] / [Russian script]
    back, lower right, pencil : DS 2500

    Rights & Restrictions

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    Keywords & Subjects

    Administrative Notes

    The photographic print was donated to the United States Holocaust Memorial Museum in 2005 by Joanne and Will Potter.
    Record last modified:
    2022-07-28 18:29:57
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