Late 1929. The young Soviet Empire was just getting to its giant feet. Bitterness and tears of the WWI and the Civil War were already behind. The civilized and developed countries were looking at the newly emerged country in a very intent and examining way, trying to predict what this dark horse could come up with on the political map of the half-ruined world.
In Germany National Socialist German Workers' Party headed by Hitler was growing in leaps and bounds, The Triple Entente’s former allies were keeping their eyes wide open as well.
That was the right time to convince the world that the new country, formed on the basis of torn and suffering Russia, had new heroes and new achievements.
The journal was founded as a supplement to the main journal, but it outgrew its father very quickly and became an independent periodical. Now its issues are considered as a real treasure of modern art, a counter-current of the time and a vivid example of socialist realism.
Ambitious goals of USSR in Construction, the main propaganda journal of the country, demanded for a high-quality artistic approach. The photos and montages were made from images by the Soviet Union's most prominent photo-journalists.
Mindcatching articles were composed by recognized word-men. On the early stages of the journal’s life foreigners were also involved into its creation, including the father of photomontage John Heartfield. For 11 years (1930-1941) the journal was published in five languages -- Russian, French, English, German, and Spanish – with the aim to cover the most part of the reading world and show the greatness of the USSR. Of course, common people couldn’t access the issues, as the journal was created primarily for the western left-wing intellectuals and business people. Bernard Shaw, H. G. Wells, John Galsworthy, and Romen Rolland were among its subscribers. The journal kept readers abroad informed of the all large-scale constructions taking place within the USSR.