Diarrrhea And Acid Reflux

The worker and peasant

The worker and peasant is a monumental work of art par excellence, symbolizing the ideals of the Soviet era. This consists of a male and a female figure: A worker (рабочий) and a clerk at a kolxoz or collective farm (колхозница) who rise above their heads, respectively, a hammer and sickle symbolizing the construction of Soviet society through the joint effort of urban workers and agricultural workers.

The work is 25 meters wide and weighing 185 tons, and is today built on a pedestal of 33 meters. As a work of stainless steel is the biggest in the world.

was created for the Soviet Pavilion of the Paris World Exhibition of 1937 after being selected in a competition to build the pavilion, said in July 1936. According to its creator, architect Борис Иофан (Boris Iofan): "I quickly came the idea of \u200b\u200ba sculpture of a boy and a girl who personified in themselves the owner-Soviet years of the earth: the working class and peasantry collective farms. They raise high the emblem of the Land of the Soviets, the hammer and sickle " For the realization of sculpture was held another contest which was won by sculptor В.И. Мухина (Vera Ignatevna Muxina).

The work was made from a plaster of a meter and a half and was held at the Institute of mechanical engineering and metallurgy under the direction of Professor П.Н. Львов (PN Lvov). The sculpture was built in chrome-nickel stainless steel *, an element that was then used for the first time in sculpture and that initially caused doubts in his ability to express a work of art.
* nichrome stainless steel was an achievement of modern metallurgy and is equivalent to gold in its resistance
corrosion
used in their manufacture stainless steel sheets of Soviet ½ thick and 1 mm. To build the heads of the couple is left with sculptural clay molds natural size as produced by the sculptors Muxina and Ivanova and then was made a plaster cast. The statue as a whole to reach a height of 23.5 meters sickle while the height of the worker reached 17.25 meters to the top of the head. All work was done in just 3 ½ months, involving up to 180 people under strenuous working hours to 15 hours daily.

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Muxina sculptors worked ote 2, Ivanova and Zelenskaya. Decades later it was learned the participation of another sculptor in the realization of the work, a certain Иосиф Моисеевич Чайков (Iosif Moiseevich Chaikov), who for lack of a biography very tight to the canons of the time was simply removed from the story of a symbol so predominantly Soviet. Chaikov raised in the family of a copyist of religious texts and study between 1910-1913 in Paris. Then, between 1922 and 1923, lived in Berlin where his work was exhibited at the Great Exhibition of the city. Was initially an advocate of cubism and constructivism, but then returned adherent of socialist realism.

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the Soviet pavilion in Paris

The USSR was assigned a place in Paris along the Seine in 160 by 21 meters. There, the Soviets set up their pavilion, a building 150 meters long and at its front, 34 feet high, installed the sculpture of Worker and Peasant. By an irony of fate all got up in front of the Pavilion of Nazi Germany, so that the symbols of Soviet ideology and looked straight in the direction opposite of the symbols of Nazi ideology, the eagle and swastika.
The sculpture was originally dissension or work as a removable and intended to use in a unique public exhibition, fair Paris, after which it would be destroyed by their disarmament and return transportation back to USSR was done with great carelessness leading in practice as scrap on the train which provoked large-os are on site and requires that between January and August 1939 had to be rebuilt because of its popularity was given a new destination: Being raised on a pedestal in front of the north entrance of the fair ВСХВ (now ВВЦ) in Moscow. Vera Ignatevna again had to redo half of the details of the sculpture back in Russia and rearmament was not too detailed so as not had much time so that the joints were not very well assembled some pieces being separated even 20 cm, areas that were covered with pieces of tin. Finally it was mounted on a steel frame of no more Alura 10 meter.

On both sides of the pedestal-mounted sculpture of Paris set sobrerrelieves presented in pieces that no one in the USSR was able to appreciate it when remove the facility is considered pointless to carry large chunks of concrete that had the sobrerrelieves back to the Soviet Union being donated to French metalworkers union.

Vision sobrerrelieves part of those in his version contemporary after reconstruction of the complete work in Moscow

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A-or before an assembly of sculpture in Moscow in 1938 rose an identical sculpture in the town of Bikin (19.600 inhabitants), the Russian Far East. The piece, located on the House of town culture, was much smaller and size as was done in concrete.

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Its restoration

As the work had been created for a unique presentation in Paris later published and permanent exhibition in Moscow was not hand with no plan for cleaning and conservation of an-there than 70 years later was in critical condition from dirt and wear of materials which led to the decision to restore it in October 2003. The monument was dismantled in 40 parts (heads, legs, hands, aprons, pan-Oleta and peasant shoes, worker boots, etc..) Waiting to be returned to its original place completely renovated in late 2005.

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However, due to funding problems the work was delayed in its delivery is postponed first to 2006 and then in 2007, delays that made many Russians think that the work would disappear forever from the landscape city \u200b\u200bof Moscow. However, Вадим Церковников (Tserkovnikov Vadim), who was responsible for the direction of the works publicly criticize these tentative dates considered opinions of inexperienced officials based their comments on the restoration of bronze sculptures not too large, they did not consider lack of funding for the project nor the improvisation that was handling the project as clearly revealed in the following fact: After being removed from Moscow authorities immediately surrendered lease and by 49 an-os field of 4.5 hectares occupied by the sculpture, which began to be used as parking lots. As a result of this action, the monument was no place to return to be lifted, from there the restorers did not know how to continue their work because they did not know where he was to be reinstated or that height would have a new pedestal.

However, the action of the authorities in Moscow had made no agreement with the federal agencies that had violated the law "On preservation and use of monuments of history and culture" that allowed him to cancel the contract.

The beginning of the restoration

The 6 000 steel plates of the sculpture were individually analyzed with X-rays for each of them give a report that allowed us to generate a report final of 120 volumes, which allowed us to understand which way to take the restoration of order to respect the plasticity of the work. This action led to the complete replacement of 250 steel plates and the partial restoration of another undisclosed number of them. Welding work was carried out with laser which allowed to make invisible seams.

also withdrew several tons of trash and bird droppings and erase the graffiti of the legs of the monument, full of entries of type Сергей + Таня (Sergei and Tanya), it also strengthened the frame of the sculpture that was covered with rust being completely replaced.

Later The work is clean waste suffered corrosion in its 70-years of an existence, a very laborious as only could be done manually, using a special paste harmlessly. This work was performed in the workshop, which possessed little lacked ventilation and heating which limits the months in which to work because the substances requiring a minimum temperature of 15 º C. Finally, the sculpture was covered with rust estimate that we can withstand the elements for at least a full century.

The sculpture was mounted on a pedestal again, 10 meters higher than the previous copy of that used in the Paris World Exhibition in 1937 ( can compare both versions in photos superiores observando a ambos costados los sobrerrelieves ). La falta de inversionistas para financiar la construccion de este pedestal fue tambien otro elemento que retraso muchisimo la entrega final del proyecto pues el armado de la escultura y la construccion de una nueva carcasa pasaba de antemano por conocer las caracteristicas definitivas del pedestal que lo sostendria.

Su instalacion final

La escultura de 185 toneladas fue montada en su nueva base (que alberga una sala de exposiciones y el Museo de Vera Muxina) el sabado 28 de noviembre de 2009 uniendose a ella con un conjunto de pernos y tuercas. Para la operacion will use a special crane from Finland whose Finnish company lease Pekaniska cost 47 million rubles ( One million 551 thousand dollars / One million 200 thousand euros ) option is forced to take into consideration that lease in Russia would cost 160 million rubles, slightly more than triple! The crane weight tons was disarmed in neighboring Finland and transported by ship to St. Petersburg from where it was conducted by train to Moscow.

The work was inaugurated in a solemn ceremony attended by the Mayor of Moscow Юрий Лужков (Yuri Luzhkov) at 5 pm on December 4, 2009 and crowned with the launching of fireworks.

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The dismantling, storage and restoration had cost 2.9 billion rubles (95 million dolares/74 million euros), which were funded Moscow government as mayor of the city expects to ask the authorities of the country to transfer the monumental heritage of the city. By the end

2011 is expected to equip the new complex environment with a set of buildings that include an exhibition hall, a hotel, a dramatic new theater for Moscow and underground parking for 1,500 cars.

The sculpture reflecting the colors of the flag of the Russian Federation, white, blue and red-lo that shows the Soviet symbol but as an expression of historical greatness of Russia as a manifestation of a commitment to the Soviet past.