---
title: "The Results of the First Five-Year Plan — AP Art History"
description: "Stepanova's 1932 photomontage series celebrating Stalin's industrialization drive. How this Soviet propaganda work shows up on the AP Art History exam (2023 SAQ)."
canonical: "https://fiveable.me/ap-art-history/key-terms/the-results-of-the-first-five-year-plan"
type: "key-term"
subject: "AP Art History"
unit: "Unit 4"
---

# The Results of the First Five-Year Plan — AP Art History

## Definition

The Results of the First Five-Year Plan is a 1932 illustration series by Soviet artist Varvara Stepanova that uses photomontage to celebrate the industrial and social achievements of Stalin's First Five-Year Plan (1928-1932), turning avant-garde Constructivist design into state propaganda.

## What It Is

The Results of the First Five-Year Plan is a series of illustrations made in 1932 by Varvara [Stepanova](/ap-art-history/key-terms/stepanova "fv-autolink"), one of the leading artists of Soviet Constructivism. It documents and glorifies the outcomes of Stalin's First Five-Year Plan (1928-1932), the massive state program that pushed the Soviet Union toward rapid [industrialization](/ap-art-history/unit-4/cultural-interactions-later-european-american-art/study-guide/vEcHWhEN09tXkjUbjKFq "fv-autolink") and collectivized agriculture. Stepanova built her images from photomontage, cutting and combining photographs of factories, workers, machinery, and Soviet leaders into bold, dynamic compositions, often paired with striking typography and the red of the Soviet flag.

Here's the tension that makes this work interesting for [AP Art History](/ap-art-history "fv-autolink"). Stepanova came out of the radical avant-garde, where artists believed abstraction and modern design could build a new society. By 1932, the Soviet state was demanding art that served propaganda first. This series sits right at that pivot point. It still looks Constructivist (diagonal energy, photographic fragments, graphic punch), but its purpose is to sell a government's success story. It's avant-garde style put to work for state power.

## Why It Matters

This work lives in [Unit 4](/ap-art-history/unit-4 "fv-autolink") ([Later Europe and Americas](/ap-art-history/key-terms/later-europe-and-americas "fv-autolink"), 1750-1980 CE) under Topic 4.1, and it's a textbook case for learning objective 4.1.A: explaining how cultural practices, belief systems, and physical setting affect art and art making. The CED's essential knowledge for this period stresses that art existed in the context of industrialization, economic upheaval, war, and re-formed governments. Stepanova's series checks nearly every box. The belief system is Soviet communism and faith in industrial progress. The cultural practice is state-sponsored propaganda. The setting is a country being rebuilt from the ground up. When you can explain how a government's ideology shaped both the look (photomontage, mass-reproducible graphics) and the message (worker heroism, industrial triumph) of a work, you're doing exactly what 4.1.A asks.

## Connections

### [Constructivism (Unit 4)](/ap-art-history/key-terms/constructivism)

Stepanova was a core Constructivist, part of the Soviet movement that rejected art-for-art's-sake in favor of useful design for the new socialist society. This series shows [Constructivism](/ap-art-history/key-terms/constructivism "fv-autolink")'s endgame, where its graphic language gets absorbed into Stalinist propaganda.

### [Avant-garde (Unit 4)](/ap-art-history/key-terms/avant-garde)

The [Soviet avant-garde](/ap-art-history/key-terms/soviet-avant-garde "fv-autolink") believed radical new art could help build a radical new world. The Results of the First Five-Year Plan shows what happens when the state takes that offer literally, and the avant-garde becomes the government's design department.

### [Abstraction (Unit 4)](/ap-art-history/key-terms/abstraction)

Early Constructivists pushed toward pure geometric [abstraction](/ap-art-history/key-terms/abstraction "fv-autolink"). By 1932, the state wanted images ordinary citizens could read instantly, so Stepanova fused abstract composition with recognizable photographs. Photomontage was the compromise between abstraction and legibility.

### [Cubism (Unit 4)](/ap-art-history/key-terms/cubism)

Photomontage's habit of fragmenting and reassembling images traces back to Cubist collage. Stepanova takes that formal trick and aims it at a political target, which is a great example of one movement's innovation feeding another's agenda.

## On the AP Exam

This exact work appeared on the 2023 exam as Short Answer Question 6, where the image was given as a stimulus along with the artist, title, and date. That's the pattern to expect. It is not one of the 250 required works, so you won't be asked to identify it cold. Instead, the exam hands you the basics and asks you to analyze it: connect its photomontage technique, propagandistic content, or Constructivist style to its Soviet context. Practice the move the SAQ rewards, which is using visual evidence (photographic fragments, dynamic diagonals, images of industry and labor) to explain how the work promotes the state's ideology. That's learning objective 4.1.A in action.

## The Results of the First Five-Year Plan vs Socialist Realism

Both served Soviet propaganda, but they're different beasts. Stepanova's series uses Constructivist photomontage, which is modern, fragmented, and graphic. Socialist Realism, which became official Soviet doctrine in the early 1930s, demanded traditional, heroic, easily readable paintings of workers and leaders. The Results of the First Five-Year Plan (1932) comes from the moment just before Socialist Realism shut the avant-garde down. If a question shows fragmented photographs and bold typography, that's Constructivist photomontage, not Socialist Realism.

## Key Takeaways

- The Results of the First Five-Year Plan is a 1932 illustration series by Varvara Stepanova celebrating the industrial achievements of Stalin's First Five-Year Plan (1928-1932).
- Stepanova used photomontage, combining cut photographs of factories, workers, and leaders into dynamic graphic compositions that could be mass-reproduced.
- The work shows Soviet Constructivist style being put in service of state propaganda, marking the late phase of the Russian avant-garde.
- For learning objective 4.1.A, it's a clear example of belief systems (communism, faith in industrial progress) directly shaping both an artwork's form and its message.
- It appeared as the stimulus for SAQ Q6 on the 2023 AP Art History exam, with the artist, title, and date provided, so the task is analysis, not identification.

## FAQs

### What is The Results of the First Five-Year Plan in AP Art History?

It's a 1932 illustration series by Soviet Constructivist Varvara Stepanova that uses photomontage to glorify the industrial and social achievements of Stalin's First Five-Year Plan (1928-1932). It's a key example of avant-garde art serving state propaganda.

### Is The Results of the First Five-Year Plan one of the 250 required works?

No. It's not in the required image set, but it appeared as a stimulus on the 2023 exam (SAQ Q6) with the artist, title, and date given. You're expected to analyze unfamiliar works like this using contextual reasoning, not memorize it.

### How is Stepanova's work different from Socialist Realism?

Stepanova worked in the Constructivist photomontage style, building images from cut photographs and bold graphics. Socialist Realism, which became official Soviet policy shortly after, required traditional heroic painting instead. Her 1932 series comes from the final years before the avant-garde was suppressed.

### Was The Results of the First Five-Year Plan propaganda?

Yes. The series was made to celebrate and promote the Soviet state's industrialization program under Stalin. On the exam, that's the point: you should be able to explain how its imagery of factories, workers, and leaders advances the government's message.

### What technique did Stepanova use in The Results of the First Five-Year Plan?

Photomontage, which means cutting and recombining photographs into a new composition, often paired with striking typography. The technique descends from Cubist collage and was a signature tool of Soviet Constructivist designers.

## Related Study Guides

- [4.1 Interactions Within and Across Cultures in Later European and American Art](/ap-art-history/unit-4/cultural-interactions-later-european-american-art/study-guide/vEcHWhEN09tXkjUbjKFq)

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