A2 Graphic Communication 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 couldn’t 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

Constructivism

Constructivism

Constructivism

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

Kasimir Malevich Kazimir Malevich. Suprematist Composition: Airplane Flying (1915). Oil on canvas.

Kazimir Malevich. Suprematist Painting (1915-16). Oil on canvas Kasimir Malevich Kazimir Malevich. Suprematist Painting (1915-16). Oil on canvas

Lazar Markovich Lissitzky Incorporates Malevich’s ideas for the promotion of socialist values. Experimented with new materials like photomontage.

Lazar Markovich Lissitzky El Lissitzky. Untitled (Sketch for Roza Luxemburg’s Memorial), 1919-20.

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 “Better pacifiers there were never, I’m prepared to suck forever. On sale everywhere.” Alexander Rodchenko and Vladimir Mayakovsky. The Best Nipple (1923). Gouache on photographic board mounted on cardboard.

Alexander Rodchenko Alexander Rodchenko. Illustration for Mayakovsky’s Pro Eto (1923). Photomontage, pink and black paper on paper.

Alexander Rodchenko “You should be ashamed of yourself—you’re 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. Dobrolet Advertising Poster (1923). Lithograph on paper.

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 Einstein’s film Battleship Potemkin (1925).

Alexander Rodchenko Alexander Rodchenko. Worker’s suit (1925).

Varvara Stepanova Varvara Stepanova. Collage (1919-20). 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 Tarelkin’s Death by Sukhovo-Kobylin (1922). Gouache and blue pencil on paper.

Varvara Stepanova Varvara Stepanova. Design for men’s sportswear (1923). Gouache and Indian ink on paper.

Varvara Stepanova Varvara Stepanova Dress design for daytime (1924). Gouache and Indian ink on paper.

Vladimir Tatlin Vladimir Tatlin, Monument to the Third International, 1919- 1920, model (wood, iron, glass) ‘Tatlin’s 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 ( 1914-15). 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