"Bread is the Head of Everything" (1980s) by Konstantin Vladimirovich Solovyov is a visual affirmation of a deep-rooted cultural truth. For centuries, bread has held a central place in Russian life—not just as food, but as a symbol of family and survival.
Solovyov’s sketch for a poster is bold and stylised. A woman in white carries sheaves of golden wheat through the sunlit fields. The lines are thick and simplified, almost woodcut-like. The rays of the sun spread across the sky in geometric beams, reinforcing the idea of abundance and clarity.
Agricultural imagery in the late Soviet period was common, but often hollow, stuffed with slogans and unrealistic scenes of plenty. Solovyov’s work is different. There’s no parade, no machinery, no crowd. Just a woman and her harvest, rendered with clarity and restraint. It doesn’t deny struggle, but it doesn’t dramatise it either.
The visual language ties into older traditions. In Slavic culture, bread is not just sustenance—it’s sacred. The Russian proverb “Bread is the head of everything” (Хлеб — всему голова) speaks to its role as the foundation of every meal and every home.
Even the word “head” (голова) shares roots with “main” or “primary” across Slavic languages. Solovyov’s image makes this point without words: bread is not optional, it is essential.
Born in 1956 and based in Moscow, Solovyov's paintings and posters were exhibited in multiple national exhibitions. His work sits between propaganda and folklore, like much of late-Soviet artwork.
