Presentation on theme: "A2 Graphic Communication"— Presentation transcript:
1 A2 Graphic Communication ConstructivismA2 Graphic Communication
2 ConstructivismThe 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.
3 The Avant-garde and Modernism Modernism rejected and challenged anything traditionalSearched for new ways to communicate about the ‘modern world’ after WW1Avant-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
4 InfluencesCubism - characterized by subjects reduced to geometric shapes such as cubes, shows different views and angles of an object that couldn’t normally be seen.
5 InfluencesFuturism - an Italian art movement celebrating noise, technology, machines, war, photography and movement, characterized by contrast, speed, and restlessness of modern life.
6 InfluencesOrphism - characterized by use of circles, and overlapping planes of bright, contrasting colors.
7 DeStijl‘The Style’ - Dutch movement, characterized by use primary colors.
8 The BauhausGerman art school - characterized by the belief that ‘form follows function’.
9 The Russian Revolution 1917The 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 individualsUnited Soviet Socialist Republic – led by Lenin
10 Characteristics of Constructivism Dispenses with subject matter, perspective, and traditional painting techniquesFocus on modernity and progressLayouts are often geometric and experimentalAttempt to create a ‘universal style’Admiration for machines and technology, functionalism
14 Kasimir MalevichSuprematism - 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
16 Kazimir Malevich. Suprematist Painting (1915-16). Oil on canvas Kasimir MalevichKazimir Malevich. Suprematist Painting ( ). Oil on canvas
17 Lazar Markovich Lissitzky Incorporates Malevich’s ideas for the promotion of socialist values. Experimented with new materials like photomontage.
18 Lazar Markovich Lissitzky El Lissitzky. Untitled (Sketch for Roza Luxemburg’s Memorial),
19 Lazar Markovich Lissitzky El Lissitzky.Proun AII (1920).Black ink, gouache,watercolor and graphiteon tan cardboard.Proun is the name he gavehis non-objective painting-constructions, in which heexperimented with the elementsof contemporary geometricabstraction combined withperspective illusions. It is anacronym for “Project for theAffirmation of the New” in Russian.
20 Alexander RodchenkoMultiple media - painting, drawing, photography, collage.
21 Alexander Rodchenko “Better pacifiers there were never, I’m prepared to suck forever. Onsale everywhere.”Alexander Rodchenko andVladimir Mayakovsky.The Best Nipple (1923).Gouache on photographicboard mounted on cardboard.
22 Alexander Rodchenko Alexander Rodchenko. Illustration for Mayakovsky’s Pro Eto (1923).Photomontage, pink and blackpaper on paper.
23 Alexander Rodchenko “You should be ashamed of yourself—you’re still not onthe list of Dobrolet stock holders.The whole country has an eye onthis list. One gold ruble makesanyone a stockholder ”Alexander Rodchenko.Dobrolet Advertising Poster(1923). Lithograph on paper.
24 Alexander Rodchenko Alexander Rodchenko. Design for Book Cover Incorporating the Word ‘Depot’ (ca. 1925). Watercolor, tempera,pen and ink, and pencil on paper.
25 Alexander RodchenkoAlexander Rodchenko. Poster for Sergei Einstein’s film Battleship Potemkin (1925).
26 Alexander RodchenkoAlexander Rodchenko.Worker’s suit (1925).
27 Varvara Stepanova Varvara Stepanova. Collage (1919-20). Paper on paper.
28 Varvara Stepanova Varvara Stepanova. Figure (1920). Gouache and pencil on illustration board.
29 Varvara Stepanova Varvara Stepanova. Tarelkin, costume design of the playTarelkin’s Death bySukhovo-Kobylin (1922).Gouache and blue pencilon paper.
30 Varvara Stepanova Varvara Stepanova. Design for men’s sportswear (1923). Gouache and Indianink on paper.
31 Varvara Stepanova Varvara Stepanova Dress design for daytime (1924). Gouache and Indianink on paper.
32 Vladimir TatlinVladimir Tatlin, Monument to the Third International, , model (wood, iron, glass)‘Tatlin’s Tower’Design for a monument to honor the Russian RevolutionTower never built (only model)Would have been twice as tall as the Eiffel Tower
33 Vladimir TatlinVladimir Tatlin. Sailor (1911). Watercolor.
34 Vladimir Tatlin Vladimir Tatlin. Counter Relief ( 1914-15). Iron, copper, wood, rope.
35 The End of Constructivism The Soviet regime at first encouraged this new styleHowever, beginning in 1921, constructivism (and all modern art movements) were officially disparaged as unsuitable for mass propaganda purposesThey were seen to be too radical, experimental and uncontrolledThey were replaced by Social Realism