Saturday, March 26, 16 - WordPress.com · Saturday, March 26, 16. Vladimir Tatlin and Alexander...
Transcript of Saturday, March 26, 16 - WordPress.com · Saturday, March 26, 16. Vladimir Tatlin and Alexander...
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Filippo Marinetti lectured in Russia. Russian artists absorbed cubism and futurism and quickly added
innovative directions of their own.
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Ilya Zdanevichinsert cover for Milliork by Aleksei Kruchenykh 1919
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Ilja Zdanevich, pages from Le-Dantyu as a Beacon, 1923Saturday, March 26, 16
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David and Vladimir Burliuk, pages from Vladimir Mayakovsky: A Tragedy, 1914
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Kasimir Malevich Black Square1913
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Kasimir Malevich, Suprematist Composition, 1915Kasimir Malevich, First Circle of Lectures, by Nikolai Punin, 1920
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By 1920 a philosophical split had formed within the art and design community.
Some artists, including Malevich and Kandinsky
argued that art MUST remain a spiritual activity separate from the needs of society.
They wanted nothing to do with a political agenda.
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Vladimir Tatlin and Alexander Rodchenko led a group of artists who
supported the opposing viewpoint. They condemned ART FOR ART’S SAKE to devote themselves to industrial design,
visual communication and applied arts serving the new communist society.
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The Constructivist ideal was shown through the work of El Lissitzky
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El Lissitzky, PROUN 23, no. 6, 1919El Lissitzky, Beat the Whites with the Red Wedge, 1919
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El Lissitzky, cover art for Veshch, 1921-22El Lissitzky, title page for Veshch, 1922
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El Lissitzkylayout for a cover of Broom, vol. 51922
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El Lissitzky, ad for Pelikan carbon paper, 1924El Lissitzky, poster for Pelikan ink, 1924
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El Lissitzkycover of For The Voice by Mayakovsky1923
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El Lissitzky, pages from For the Voice, 1923“Beat your drums on the squares of the riots, turned red with the blood of revolution”
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El Lissitzky, pages from For the Voice, “Order for the Army of the Arts”
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El Lissitzkybook cover forThe Isms of Art1924
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El Lissitzky, text format for The Isms of Art, 1924Saturday, March 26, 16
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El Lissitzkytitle page for The Isms of Art1924
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El Lissitzky, pictorial spread from The Isms of Art, 1924Saturday, March 26, 16
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El Lissitzkycover of Notes of a Poet by Ilia Selvinskii 1928
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El Lissitzkyexhibition poster1929
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El Lissitzky, exhibition design for Pressa, 1928Saturday, March 26, 16
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Typographer Jan Tschichold would later write:
“Lissitzky was one of the great pioneers... his influence was widespread and
enduring... a generation that has never heard of him stands upon his shoulders.”
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Alexander Rodchenko, covers for Lef no. 1, 2 &3
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Alexander Rodchenkoposter, 1937(The podium is a newspaper proclaiming, “Peace! Bread! Land!”)
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http://www.youtube.com/embed/dJ_6_vo8Uak
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Alexander Rodchenkopaperback book covers 1924
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http://youtu.be/mQURCU6jN58
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Color was used as an important structural element.
Red was favored because of its visual power AND because of its association with revolution.
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Salomon Telingatercover for The World Belongs to Kirsanov1930
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Georgy and Vladimir Augustovich Stenbergfilm poster,undated
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G. & V. Augustovich Stenberg, The 11th Year of the Revolution poster, 1928G. & V. Augustovich Stenberg, The General poster, 1929
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Gustav KlutsisSpartakiada postcard1928
His work is often compared to that of John Heartfield.
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Gustav Klutsis, We Will Repay the Coal Debt to the Country poster, 1930Gustav Klutsis, Everyone Must Vote in the Election of Soviets poster, 1930Gustav Klutsis, Building Socialism Under the Banner of Lenin poster, 1931
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Vladimir Vasilevich Lebedev, page from the book, The Adventures of the Scarecrow, 1922
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Vladimir Vasilevich Lebedevpage spread from the book,
The Adventures of the Scarecrow, 1922
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Vladimir Vasilevich Lebedevfrom the book, Circus1928
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Vladimir Vasilevich Ledebev, page spread, Circus, 1928
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Launched in the Netherlands in the summer of 1917,
Théo van Doesburg is considered the founder and guiding spirit
of the De Stijl movement.
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Piet MondrianComposition with Red, Yellow and Blue 1922
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Théo van Doesburg and Laszlo Moholy-Nagy book cover1925
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Vilmos Huszar, cover and title page designs for De Stijl, 1917-18
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Théo van Doesburg, cover and ad designs for De Stijl, 1921-22
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Piet Mondrian and van Doesburg had a parting of the ways in 1924 when
van Doesburg declared the diagonal to be a more dynamic compositional principle than horizontal and vertical construction.
Mondrian believed in purely vertical and horizontal composition
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Théo van Doesburg, exhibition poster, 1920Théo van Doesburg and Kurt Schwitters
Kleine Dada Soirée poster, 1920
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Théo van Doesburg, dadaist poetry from De Stijl, 1921
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El Lissitzky, cover and page from De Stijl, 1922
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The Schroeder House, Utrecht, 1924Saturday, March 26, 16
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Laszlo Moholy-Nagy, cover and page spread designs for i10, 1927
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http://youtu.be/9fmiKOOvLUo
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