1. A2 Graphic Communication
Constructivism
A2 Graphic Communication

2. 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.

3. 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

4. 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.

5. Influences
Futurism - an Italian art movement celebrating noise, technology, machines, war, photography and movement, characterized by contrast, speed, and restlessness of modern life.

6. Influences
Orphism - 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 Bauhaus
German art school - characterized by the belief that ‘form follows function’.

9. 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

10. 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

11. Constructivism

12. Constructivism

13. Constructivism

14. 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

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

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

20. Alexander Rodchenko
Multiple media - painting, drawing, photography, collage.

21. 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.

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

23. 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.

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 Rodchenko
Alexander Rodchenko. Poster for Sergei Einstein’s film Battleship Potemkin (1925).

26. Alexander Rodchenko
Alexander 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 play
Tarelkin’s Death by
Sukhovo-Kobylin (1922).
Gouache and blue pencil
on paper.

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

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

32. Vladimir Tatlin
Vladimir Tatlin, Monument to the Third International, , 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

33. Vladimir Tatlin
Vladimir 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 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