"Sport is the Key to Health" (1970) by Abib Ismailovich Ismailov represents a striking example of Soviet health promotion art, merging modernist design with state-sponsored athletic advocacy. Created during a period when physical fitness was considered crucial to both personal and national development in the USSR, this poster draft showcases the artist's ability to combine propaganda messaging with sophisticated artistic execution. The banner text at the top, "СПОРТ - ЗАЛОГ ЗДОРОВЬЯ!", explicitly states the poster's purpose while integrating seamlessly with the overall design.
While the work adheres to state requirements for public health messaging, it maintains artistic sophistication through its elegant line work and masterful composition. The composition arranges six athletic figures in a dynamic horizontal configuration, their forms simplified and stylized in a manner reminiscent of Art Deco aesthetics. Each figure represents different sporting activities - rhythmic gymnastics with a hoop, cycling, and other athletic pursuits - creating a unified celebration of physical culture. The balanced arrangement of standing and seated figures creates a pleasing visual rhythm, while the bicycle's geometric form provides a strong structural element that anchors the composition.
The colour palette is particularly striking, employing a limited range of reds, purples, and blues against a clean white background. The figures are rendered in warm terracotta tones with purple athletic wear, creating a harmonious contrast that draws the eye across the composition. The flowing banner at the top, executed in pink tones, adds a sense of movement and festivity to the design. This economical use of colour, typical of poster art of the period, demonstrates Ismailov's understanding of both artistic principles and printing requirements.
Abib Ismailovich Ismailov (born 1939) brought a unique perspective to Soviet art through his experiences as an Uzbek artist trained in both Central Asian and Russian traditions. His early life was marked by deportation from Crimea at age five, an experience that would later influence his artistic sensibility. Despite these hardships, he pursued formal training at the P. Benkov Republican Art College in Tashkent (1975-1981), studying under masters including Malik Nabiev and Nikolai Shin. This poster demonstrates his ability to merge Soviet artistic requirements with his distinctive style, prefiguring his later recognition as a member of the USSR Academy of Arts. While best known for his landscapes and portraits of Uzbekistan, this early work shows his versatility in graphic design and propaganda art, skills that would contribute to his significant legacy in Central Asian art history.
