Presentation on theme: "Constructivism A2 Graphic Communication. Constructivism The name Constructivism describes a trend within the fields of painting, sculpture and graphics."— Presentation transcript:
Constructivism A2 Graphic Communication
Constructivism The name Constructivism describes a trend within the fields of painting, sculpture and graphics. Mainly a number of closely linked young Russian artists working on their own terms. They often created art connected to their revolutionary proletarian beliefs (working class overthrow of the bourgeoisie). They were part of a world-wide Avant-garde Modernist movement.
The Avant-garde and Modernism Modernism rejected and challenged anything traditional Searched for new ways to communicate about the modern world after WW1 Avant-garde means before the group – this art is radical and is critical of political and social institutions (revolutionary) Characterised by symbolism, abstraction, emotions, psychology, new science, the future, revolution
Influences Cubism - characterized by subjects reduced to geometric shapes such as cubes, shows different views and angles of an object that couldnt normally be seen.
Influences Futurism - an Italian art movement celebrating noise, technology, machines, war, photography and movement, characterized by contrast, speed, and restlessness of modern life.
Influences Orphism - characterized by use of circles, and overlapping planes of bright, contrasting colors.
DeStijl The Style - Dutch movement, characterized by use primary colors.
The Bauhaus German art school - characterized by the belief that form follows function.
The Russian Revolution 1917 The fall of the last major autocratic monarchy in Europe (the Csar) The rise of Socialism and Communism – ownership of the means of production by the community rather than private individuals United Soviet Socialist Republic – led by Lenin
Characteristics of Constructivism Dispenses with subject matter, perspective, and traditional painting techniques Focus on modernity and progress Layouts are often geometric and experimental Attempt to create a universal style Admiration for machines and technology, functionalism
Kasimir Malevich Suprematism - line, shape and colour distilled to its pure essence, rejects all the old and the creation of a new aesthetic. Abstract – no recognisable objects, no imitation of the real world, spiritual, emotional
Lazar Markovich Lissitzky Incorporates Malevichs ideas for the promotion of socialist values. Experimented with new materials like photomontage.
Lazar Markovich Lissitzky El Lissitzky. Untitled (Sketch for Roza Luxemburgs Memorial),
Lazar Markovich Lissitzky El Lissitzky. Proun AII (1920). Black ink, gouache, watercolor and graphite on tan cardboard. Proun is the name he gave his non-objective painting- constructions, in which he experimented with the elements of contemporary geometric abstraction combined with perspective illusions. It is an acronym for Project for the Affirmation of the New in Russian.
Alexander Rodchenko Multiple media - painting, drawing, photography, collage.
Alexander Rodchenko Alexander Rodchenko and Vladimir Mayakovsky. The Best Nipple (1923). Gouache on photographic board mounted on cardboard. Better pacifiers there were never, Im prepared to suck forever. On sale everywhere.
Alexander Rodchenko Alexander Rodchenko. Illustration for Mayakovskys Pro Eto (1923). Photomontage, pink and black paper on paper.
Alexander Rodchenko Alexander Rodchenko. Dobrolet Advertising Poster (1923). Lithograph on paper. You should be ashamed of yourselfyoure still not on the list of Dobrolet stock holders. The whole country has an eye on this list. One gold ruble makes anyone a stockholder....
Alexander Rodchenko Alexander Rodchenko. Design for Book Cover Incorporating the Word Depot (ca. 1925). Watercolor, tempera, pen and ink, and pencil on paper.
Alexander Rodchenko Alexander Rodchenko. Poster for Sergei Einsteins film Battleship Potemkin (1925).
Alexander Rodchenko Alexander Rodchenko. Workers suit (1925).
Varvara Stepanova Varvara Stepanova. Collage ( ). Paper on paper.
Varvara Stepanova Varvara Stepanova. Figure (1920). Gouache and pencil on illustration board.
Varvara Stepanova Varvara Stepanova. Tarelkin, costume design of the play Tarelkins Death by Sukhovo-Kobylin (1922). Gouache and blue pencil on paper.
Varvara Stepanova Varvara Stepanova. Design for mens sportswear (1923). Gouache and Indian ink on paper.
Varvara Stepanova Dress design for daytime (1924). Gouache and Indian ink on paper.
Vladimir Tatlin Vladimir Tatlin, Monument to the Third International, , model (wood, iron, glass) Tatlins Tower Design for a monument to honor the Russian Revolution Tower never built (only model) Would have been twice as tall as the Eiffel Tower
Vladimir Tatlin Vladimir Tatlin. Sailor (1911). Watercolor.
Vladimir Tatlin Vladimir Tatlin. Counter Relief ( ). Iron, copper, wood, rope.
The End of Constructivism The Soviet regime at first encouraged this new style However, beginning in 1921, constructivism (and all modern art movements) were officially disparaged as unsuitable for mass propaganda purposes They were seen to be too radical, experimental and uncontrolled They were replaced by Social Realism