The USSR's declared dedication to peace was juxtaposed with the contentious decision to deploy missiles in Cuba, revealing a nuanced strategy of strategic ambiguity. This action highlighted ongoing Cold War tensions and challenged the USSR's peace-centric rhetoric. Despite this, Soviet leaders like Nikita Khrushchev persisted in promoting "peaceful coexistence" with the West, portraying the USSR as a peace-seeking superpower seeking to bridge the ideological divide. Art also played a role in promoting this narrative. Soviet artists depicted the USSR as a protector of socialist ideals globally. Posters featured Soviet soldiers standing alongside counterparts from allied socialist nations, symbolising a united front against Western aggression.

The space race was similarly recast as a testament to the USSR's peaceful aspirations. Landmark achievements like the launch of Sputnik and Yuri Gagarin's spaceflight were framed as contributions to humanity's collective progress, not just technological victories. Space-themed propaganda posters with slogans like "Space is for Peace" adorned with images of astronauts and doves emphasised a vision of peaceful exploration, deliberately contrasting with militaristic objectives in the American space program.

Sovereignty under siege: Western interventions

The Soviet Union portrayed itself as the defender of sovereignty and socialism, resisting the tide of Western interventionism. This posture was framed against NATO's aggressive expansion and establishment of new military bases. These actions were interpreted by the USSR as aggressive efforts to encircle socialist countries and assert Western dominance.

The Soviet Union did not shy away from spotlighting instances of U.S. involvement in foreign affairs as emblematic of Western disregard for national sovereignty. Key moments such as the overthrow of Iran's Prime Minister in 1953, the coup in Guatemala in 1954, and support for the regime change in Chile in 1973 were underscored as blatant examples of Western intrusion. Furthermore, the Vietnam War was depicted as the quintessence of unjust aggression, positioning the United States as favouring military solutions over peaceful diplomatic engagements.

Soviet artistic portrayals of these events aimed to fuel fear across the socialist bloc, emphasising the potential for a domino effect of subversion. Posters depicted chains binding nations or maps with spreading flames as stark visual metaphors for covert control and looming instability.  This message was further amplified by portraying resistance fighters not just as soldiers, but as ordinary workers, farmers, and women – a rallying cry for grassroots defence against Western-backed forces.

Amidst these narratives, the Soviet Union continued to position itself as a champion of non-interference, in stark contrast to the interventionist and imperialistic West. By tapping into the narrative of global revolutionary solidarity, the USSR subtly positioned itself as both protector and potential victim of imperialist aggression. However, this narrative was complicated by the Soviet Union's own actions, most notably its invasion of Afghanistan in 1979. This military intervention was framed by the USSR as a necessary action to protect communism, responding to requests from the Afghan government for help in battling insurgent groups. The Soviet leadership aimed to prop up a friendly regime and prevent the spread of Islamic influence and insurgency across its borders, particularly given Afghanistan's proximity to the Soviet Union's own Muslim-majority southern republics. 

The harsh reality of Western life

In its portrayal of Western societies, the Soviet Union emphasised the challenges and disparities faced within capitalist systems, spotlighting issues like unemployment, educational barriers, racial inequalities, labour disputes, and a scarcity of social services. This representation aimed to depict capitalist countries, particularly the United States, as engulfed in social and economic upheaval, juxtaposing this with the purportedly idyllic conditions in socialist states, where equality and prosperity were said to prevail.

Soviet propaganda masterfully exploited both the economic turmoil of the 1970s and  racial strife in the United States to expose the moral failings of the West. The devaluation of the US dollar was showcased as proof of capitalism's instability, while graphic posters depicted police brutality against Black Americans, using stark colours and exaggerated violence for maximum impact.  These images laid bare the hypocrisy of a nation claiming democracy while denying basic rights to its citizens. The Soviet recognition of Angela Davis with the Lenin Peace Prize further underscored this critique, casting the USSR as a moral bastion in contrast to the West's alleged racial and imperialistic failings. The condemnation of racial injustice wasn't presented in isolation. Soviet artists frequently highlight the supposed harmony within their own nation with vibrant portrayals of multi-ethnic Soviet citizens celebrating holidays or working together in a spirit of camaraderie.  

However, this narrative faced a significant challenge with Boris Yeltsin's visit to a Texas supermarket. Yeltsin's amazement at the abundance and diversity of consumer goods available starkly contrasted with the limited options back in the Soviet Union, calling into question the Soviet depiction of Western life as filled with hardship and scarcity. This incident subtly revealed the complexities and nuances of life across the ideological divide, suggesting that the reality of Western capitalism might not fully align with the Soviet portrayal.

Despite efforts to mould public perception through propaganda, the Soviet Union's depiction of itself as a peace-loving guardian was complicated by its own actions. The Cold War was not only a conflict of arms but also a clash of ideologies, where the power of narrative was just as significant as military might.