He is engaged in painting Bolshevik propaganda posters, an activity in which he was sometimes engaged in the years immediately after the Revolution. The primary goal of the group was to depict revolutionary Russia by painting realistic canvases devoted to such topics as Russian workers, soldiers, and political figures. In their return to tendentiousness, they consciously attempted to revive the traditions of the Wanderers. Brodsky made something of a specialty for himself in paintings of the greatest revolutionary leader of them all, Vladimir Ilich Lenin. The tractor was, of course, one of central Soviet symbols, an illustration of the technological progress that had, supposedly, been introduced in the countryside by the Bolshevik regime.
Bodies are muscular, abundant food is on the tables.
The whole is bathed in a warm glow of light, symbolizing the bright socialist future which appears to have more or less been achieved. In 1928 Malevich embarked on a cycle of paintings that differed radically from the work he had produced in his previous period. As regards their theme, their concern with figuration, and their monumentality, Malevich's second series of peasants can be read as an attempt by the artist to find a compromise with the leading trends of Soviet art. The beard and the distant silo allow us to recognize a peasant scene, but it is impossible to provide a psychological reading of the scene. This is another example of Malevich's peasant series of 1928-32.