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Animals as Assets: Exploitation and Utility in the USSR

The welfare and interests of animals were of little concern in a system which prioritised the working class. The fate of the world’s first space traveller, Laika the dog, who was sent on a one-way mission into orbit in 1957, was symbolic of official attitudes towards animals under socialism. 

The Soviet Union's treatment of animals was driven by ideology and a ruthless pragmatism. After the 1917 Revolution, even simple pets were branded as "pampered" – a symbol of the bourgeois excess that contradicted socialist ideals of equality and cleanliness. This hostility was so extreme, it even led to the disbanding of the Russian Society for the Protection of Animals, which had been founded in 1865. 

After the devastation of World War II, attitudes softened slightly. By the time of Stalin's death, Moscow's vet clinics cared for 36,000 pets annually. This shift coincided with a period of liberalisation, known as the Khrushchev Thaw, which led to an increased emphasis on private spaces. Animals were tolerated as pets, but they existed in a paradoxical state – their acceptance was unspoken, and their presence always demanded explanation.

The Soviet state's utilitarian view of animals wasn't limited to domestic life. Entertainment became a tool to project power. The famed Moscow State Circus was wildly popular. With exotic performing animals like Siberian tigers, the circus was more than entertainment, it was a symbol of socialist achievement, its promotion underscoring the state's ability to provide spectacles that rivalled those in the West. Unlike their Western counterparts, Socialist zoos like East Germany’s Tierpark reinforced narratives of human dominance over nature. They had a thin educational veneer, but primarily served as reminders of the state's ability to contain and manage nature . Animal welfare was often secondary, as both circuses and zoos were first and foremost tools to project an image of power and wealth. 

A circus performer with his bear. Credit: Unknown
A circus performer with his bear. Credit: Unknown

Animals in Service of the Soviet State

This focus on animal utility was bluntly stated in propaganda like a 1940 pamphlet declaring, "A dog is not an amusement, but the friend and helper of man at work." Perhaps the starkest evidence of the change is in a dog-care manual. First published just before the 1917 Revolution, the next edition, published just 10 years later – featured a working postal dog on its cover, reflecting the radical shift in perspective. Marxist philosophy reinforced this view, elevating humans as the only beings capable of complex goals and meaningful creation, delegating animals to an inferior status.

But if there is one animal whose destiny symbolises an inferior status, it is Laika the dog, the first space traveller in history. Laika was a stray, taken from the streets of Moscow to be trained for the space mission. Stray dogs were chosen on the grounds of their ability to endure extreme temperatures, although looks were also a factor, as a Soviet space pioneer had to be photogenic. The Soviet leadership wanted a propaganda success to coincide with the fortieth anniversary of the Russian Revolution, leaving no time for the construction of a capsule for her return journey. The Soviet government claimed that Laika that she lived for as many as ten days after the launch and was then painlessly put to death with sleeping gas. It was only in 2002 that the truth about her death was made public, she had died after only 5 to 7 hours, most likely from overheating and stress.

Testing and the use of animals to further science continued throughout the 20th century. From Pavlov’s dog conditioning experiments to the domestication of Siberian foxes. In 1959, the Soviet geneticist, Dmitry Belyaev, purchased 130 silver foxes from Soviet fur farms and began selecting them for friendliness toward humans. His goal was to study the process of domestication in real-time. He was especially keen on understanding how dogs had evolved from wolves. He chose silver foxes instead of wolves, and kept only the most tame foxes - approximately 20% of the population - to breed the next generation. After several generations, the foxes' traits and appearance had already changed. Their ears were floppy, they were smaller, their tails became curly, they had an extended reproductive cycle, and the shape of their skulls, jaws, and teeth changed. These traits can also be found in other domesticated species, and are now thought to be inherently linked to the process of domestication, supporting Darwin’s hypothesis in the Origin of Species.

Soviet geneticist, Dmitry Belyaev and his foxes. Credit: Raffaele Esposito
Soviet geneticist, Dmitry Belyaev and his foxes. Credit: Raffaele Esposito

Metaphors and Manipulation: Animal Symbols in the USSR

Despite their utilitarian and subservient status, animals were heavily exploited by Soviet propaganda to project an image of liberation and global harmony. The dove is the most potent symbol of peace and was used heavily in Soviet anti-war and fraternity propaganda posters.. However, nonconformist artists subverted this narrative, turning animal imagery into a vehicle of dissent. Birds were particularly evocative, their caged lives mirroring the constraints of life within the regime. This subtle resistance transformed animals into powerful metaphors for the longing for freedom and individuality.

One powerful example is István Harasztÿ’s 1972 installation, Like a Bird. A live parrot was trapped in a cage with doors that opened when it was perched, only to slam shut the moment the bird attempted to escape. When the work was exhibited for the first time at the István Király Museum in Székesfehérvár in 1977, the bird had to be ‘replaced’ three times during the show due to stress-induced deaths. This piece was recognized as having heavily political overtones, as the parrot's plight offered a direct metaphor for the situation of individuals within communist Hungary. For the secret police, it was clear that: ‘The mechanism, and in particular the case of the bird, exemplifies the apparition of human freedom.’ The work's political charge was so strong that even the title was eventually changed to the less subversive Birdcage.

Animals served as powerful symbols not just in visual propaganda, but in literature too. George Orwell's Animal Farm uses a deceptively simple farmyard setting to deliver a scathing allegorical attack on the communist ideology of Joseph Stalin. Orwell, a harsh critic of Stalin and the Soviet system, described Animal Farm in a letter to Yvonne Davet as a satirical tale against Stalin. Orwell's clear communication stemmed from his belief that political language often served as a tool for deception. Within the novel, the narrator and honest animals speak plainly, while the pigs manipulate language for their own gain. The pigs' system of thought, Animalism, a clear allegory for Communism, is corrupted as they engage in forbidden activities, mirroring the Soviet government's revision of history for control. Unsurprisingly, the book's theme and choice of pigs as the dominant class deeply offended Soviet authorities.

The Soviet system starkly reinforced the divide between humans and animals. Animals were viewed as subservient and expendable, their lives and needs secondary to the state's ambitions. This perspective, shaped by a combination of Marxist ideology and a pragmatic focus on survival, had lasting effects on how animals were perceived and treated within the socialist bloc.

We Vote for Peace – Russian propaganda poster (1987) showcases colourful red, blue, yellow and green hands holding a dove, promoting peace.We Vote for Peace – Russian propaganda poster (1987) showcases colourful red, blue, yellow and green hands holding a dove, promoting peace, framed in a French apartment with parquet floors, white walls and soft sunlight

We Vote for Peace

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Russian SFSR, 

We Vote for Peace

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Russian SFSR, 

The Leper – Polish movie poster (1976) features a woman in a hat, a snake, and green tones, suggesting an intriguing film.The Leper – Polish movie poster (1976) features a woman in a hat, a snake, and green tones, suggesting an intriguing film, framed in a French apartment with parquet floors, white walls and soft sunlight

The Leper

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Poland, 

The Leper

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Poland, 

Tim & Bim – Russian SFSR theatre poster from 1966 by M. Artemov featuring a duck, a cat, and a white bow and arrow.Tim & Bim – Russian SFSR theatre poster from 1966 by M, Artemov featuring a duck, a cat, and a white bow and arrow, framed in a French apartment with parquet floors, white walls and soft sunlight

Tim & Bim

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Russian SFSR, 

Tim & Bim

Silkscreen/paper

Russian SFSR, 

Unusual Adventures – Polish movie poster from 1975 by Romuald Socha. A red and yellow poster depicting a lion with wings and sunglasses.Unusual Adventures – Polish movie poster from 1975 by Romuald Socha, A red and yellow poster depicting a lion with wings and sunglasses, framed in a French apartment with parquet floors, white walls and soft sunlight

Unusual Adventures

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Poland, 

Unusual Adventures

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Poland, 

Tierpark Berlin – East German zoo poster from 1983 by Steiff. Silkscreen featuring ducks in blue, green, and orange.Tierpark Berlin – East German zoo poster from 1983 by Steiff, Silkscreen featuring ducks in blue, green, and orange, framed in a French apartment with parquet floors, white walls and soft sunlight

Tierpark Berlin

Silkscreen/paper

East Germany, 

Tierpark Berlin

Silkscreen/paper

East Germany, 

The Poster – East German theatre poster from 1978 by Helmut Brade. Silkscreen featuring a rooster and hen in orange.The Poster – East German theatre poster from 1978 by Helmut Brade, Silkscreen featuring a rooster and hen in orange, framed in a French apartment with parquet floors, white walls and soft sunlight

The Poster

Silkscreen/paper

East Germany, 

The Poster

Silkscreen/paper

East Germany, 

The Scorpion – East German movie poster from 1984 by Helmut Brade. Features a black hand strangling a duck in grey.The Scorpion – East German movie poster from 1984 by Helmut Brade, Features a black hand strangling a duck in grey, framed in a French apartment with parquet floors, white walls and soft sunlight

The Scorpion

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East Germany, 

The Scorpion

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East Germany, 

White Bird with Black Mark – Soviet Russian movie poster from 1971 by T. Lyashchuk featuring a black bird against a woman's figure.White Bird with Black Mark – Soviet Russian movie poster from 1971 by T, Lyashchuk featuring a black bird against a woman's figure, framed in a French apartment with parquet floors, white walls and soft sunlight

White Bird with Black Mark

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Russian SFSR, 

White Bird with Black Mark

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Russian SFSR, 

Broken Circle – Soviet Russian movie poster from 1987 featuring a pig and abstract shapes in yellow and orange.Broken Circle – Soviet Russian movie poster from 1987 featuring a pig and abstract shapes in yellow and orange, framed in a French apartment with parquet floors, white walls and soft sunlight

Broken Circle

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Russian SFSR, 

Broken Circle

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Russian SFSR, 

Tallinn Zoo – Soviet Estonia 1965 poster featuring a polar bear in blue and yellow hues.Tallinn Zoo – Soviet Estonia 1965 poster featuring a polar bear in blue and yellow hues, framed in a French apartment with parquet floors, white walls and soft sunlight

Tallinn Zoo

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Estonian SSR, 

Tallinn Zoo

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Estonian SSR, 

From Dinosaurs to Spaceships – Hungary Educational poster from 1971 by Kemeny Gyorgy featuring a dinosaur and a spaceship with orange and pink tonesFrom Dinosaurs to Spaceships – Hungary Educational poster from 1971 by Kemeny Gyorgy featuring a dinosaur and a spaceship with orange and pink tones, framed in a French apartment with parquet floors, white walls and soft sunlight

From Dinosaurs to Spaceships

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Hungary, 

From Dinosaurs to Spaceships

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Hungary, 

"Danger: Do not Drink From Open Water!" - Soviet Russian safety poster (1987) by A. G. Rudkovich. Shows a crocodile or alligator with yellow teeth near water."Danger: Do not Drink From Open Water!" - Soviet Russian safety poster (1987) by A, G, Rudkovich, Shows a crocodile or alligator with yellow teeth near water, framed in a French apartment with parquet floors, white walls and soft sunlight

Danger: Do not Drink From Open Water!

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Russian SFSR, 

Danger: Do not Drink From Open Water!

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Russian SFSR, 

art

The Story of Soviet Art: The 20th Century Movement Set to Rise

Soviet art presents a rare opportunity for collectors. The historical significance and artistic merit of Soviet art offers an opportunity to acquire artworks at prices far below their Western counterparts.

Read more about The Story of Soviet Art: The 20th Century Movement Set to Rise

H2O

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Russian SFSR, 

H2O

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Russian SFSR, 

"Contaminated Reservoirs Kill Fish Uncut Matchbox Sheet" - Soviet Russian poster (1970s) by Unknown artist. Shows a fish skeleton in blue, highlighting water pollution issues."Contaminated Reservoirs Kill Fish Uncut Matchbox Sheet" - Soviet Russian poster (1970s) by Unknown artist, Shows a fish skeleton in blue, highlighting water pollution issues, framed in a French apartment with parquet floors, white walls and soft sunlight

Contaminated Reservoirs Kill Fish Uncut Matchbox Sheet

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Russian SFSR, 

Contaminated Reservoirs Kill Fish Uncut Matchbox Sheet

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Russian SFSR, 

"Poultry of Slovakia" - Czech poster (1972) by Anton Holly. Showcases a bird, likely an eagle, in yellow and gold tones."Poultry of Slovakia" - Czech poster (1972) by Anton Holly, Showcases a bird, likely an eagle, in yellow and gold tones, framed in a French apartment with parquet floors, white walls and soft sunlight

Poultry of Slovakia

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Czech Republic, 

Poultry of Slovakia

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Czech Republic, 

"In the Bay of White Bears" - Polish poster (1960) by Adam Bowbelski. Depicts a polar bear, ice, and film imagery in green, blue, and white."In the Bay of White Bears" - Polish poster (1960) by Adam Bowbelski, Depicts a polar bear, ice, and film imagery in green, blue, and white, framed in a French apartment with parquet floors, white walls and soft sunlight

In the Bay of White Bears

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Poland, 

In the Bay of White Bears

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Poland, 

"8th Book and Technical Press Days" - Polish poster (1965) by T. Pietrzyk. Illustrates a bird, book, and dove in black and white, highlighting literature and technology."8th Book and Technical Press Days" - Polish poster (1965) by T, Pietrzyk, Illustrates a bird, book, and dove in black and white, highlighting literature and technology, framed in a French apartment with parquet floors, white walls and soft sunlight

8th Book and Technical Press Days

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Poland, 

8th Book and Technical Press Days

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Poland, 

"Water and Environmental Engineering" - Polish poster (1976) by Mieczysław Wasilewski. Features a jumping fish in blue and black, emphasizing water and environmental themes."Water and Environmental Engineering" - Polish poster (1976) by Mieczysław Wasilewski, Features a jumping fish in blue and black, emphasizing water and environmental themes, framed in a French apartment with parquet floors, white walls and soft sunlight

Water and Environmental Engineering

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Poland, 

Water and Environmental Engineering

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Poland, 

"Men with Complexes" - Polish poster (1968) by Jerzy Flisak. Showcases a man's face with bird-like features in white and animal imagery."Men with Complexes" - Polish poster (1968) by Jerzy Flisak, Showcases a man's face with bird-like features in white and animal imagery, framed in a French apartment with parquet floors, white walls and soft sunlight

Men with Complexes

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Poland, 

Men with Complexes

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Poland, 

Space is not for War – Soviet Russia poster from 1985 by Bubat featuring a dove and cosmonaut in black and white.Space is not for War – Soviet Russia poster from 1985 by Bubat featuring a dove and cosmonaut in black and white, framed in a French apartment with parquet floors, white walls and soft sunlight

Space is not for War

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Russian SFSR, 

Space is not for War

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Russian SFSR, 

Visit Warsaw Zoo – Poland advertising Poster from 1967 by Waldemar Swierzy featuring a tiger in orange and black.Visit Warsaw Zoo – Poland advertising Poster from 1967 by Waldemar Swierzy featuring a tiger in orange and black, framed in a French apartment with parquet floors, white walls and soft sunlight

Visit Warsaw Zoo

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Poland, 

Visit Warsaw Zoo

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Poland, 

Star Wars – Soviet Russia Movie poster from 1990 by Igor Majstrovsky featuring a cross between a robot and a tiger on a black background.Star Wars – Soviet Russia Movie poster from 1990 by Igor Majstrovsky featuring a cross between a robot and a tiger on a black background, framed in a French apartment with parquet floors, white walls and soft sunlight

Star Wars

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Russian SFSR, 

Star Wars

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Russian SFSR, 

Zoo-Circus – Soviet Russia circus poster from 1970s by M.V. Belyaev featuring a yellow lion against a white backgroundZoo-Circus – Soviet Russia circus poster from 1970s by M.V. Belyaev featuring a yellow lion against a white background, framed in a French apartment with parquet floors, white walls and soft sunlight

Zoo-Circus

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Russian SFSR, 

Zoo-Circus

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Russian SFSR, 

Like Mum – Russian SFSR anti-smoking poster from 1977 by S. M Krymsky featuring a purple and blue kangaroo smoking.Like Mum – Russian SFSR anti-smoking poster from 1977 by S, M Krymsky featuring a purple and blue kangaroo smoking, framed in a French apartment with parquet floors, white walls and soft sunlight

Like Mum

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Russian SFSR, 

Like Mum

Offset/paper

Russian SFSR, 

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