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The Russian Avant-garde: Experiments in Abstraction
The Russian Avant-garde: Experiments in Abstraction
Purpose
Purpose
Russian Futurism
Russian Futurism
The Role of Artists
The Role of Artists
The Russian Avant-garde:
The Russian Avant-garde:
Suprematism (1913 - 1919)
Suprematism (1913 - 1919)
Kazimir Malevich (1878  1935)
Kazimir Malevich (1878 1935)
His Aim
His Aim
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Kazimir Malevich
Constructivism (1912  1921)
Constructivism (1912 1921)
The Style
The Style
Methods and Materials
Methods and Materials
Vladimir Tatlin
Vladimir Tatlin
Tatlin
Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Photograph of Tatlin Inaugurating Monument to Sofia Perovskaya,
Photograph of Tatlin Inaugurating Monument to Sofia Perovskaya,
Vladimir Tatlin
Vladimir Tatlin
Sculptural maquette of Monument to the Third International as it
Sculptural maquette of Monument to the Third International as it
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Tatlin
Vladimir Mayakovsky
Vladimir Mayakovsky
Vladamir Mayakovsky
Vladamir Mayakovsky
Vladamir Mayakovsky
Vladamir Mayakovsky
El Lissitzky (1890  1956)
El Lissitzky (1890 1956)
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
El Lissitzky
Alexander Rodchencko
Alexander Rodchencko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Better pacifiers there were never, Im prepared to suck forever
Better pacifiers there were never, Im prepared to suck forever
Alexander Rodchenko
Alexander Rodchenko
You should be ashamed of yourselfyoure still not on the list of
You should be ashamed of yourselfyoure still not on the list of
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Alexander Rodchenko
Varvara Stepanova 1894-1958
Varvara Stepanova 1894-1958
Varvara Stepanova
Varvara Stepanova
Varvara Stepanova
Varvara Stepanova
Varvara Stepanova
Varvara Stepanova
Varvara Stepanova
Varvara Stepanova
Varvara Stepanova Dress design for daytime (1924)
Varvara Stepanova Dress design for daytime (1924)
Varvara Stepanova The Third Warrior (1925)
Varvara Stepanova The Third Warrior (1925)
The End of Constructivism
The End of Constructivism
Social Realism
Social Realism
Vasili Filippovich Ivanov
Vasili Filippovich Ivanov
Peter Panteleimonovich Parkhet
Peter Panteleimonovich Parkhet
Boris Eremeevich Vladimirski
Boris Eremeevich Vladimirski
Vladimir Gavrilovich Krikhatzkij: New Tractor (1929)
Vladimir Gavrilovich Krikhatzkij: New Tractor (1929)

: The Russian Avant-garde: Experiments in Abstraction. : Administrator. : The Russian Avant-garde: Experiments in Abstraction.ppt. zip-: 4407 .

The Russian Avant-garde: Experiments in Abstraction

The Russian Avant-garde: Experiments in Abstraction.ppt
1 The Russian Avant-garde: Experiments in Abstraction

The Russian Avant-garde: Experiments in Abstraction

2 Purpose

Purpose

When the new century came, the quest for national identity caused an ambitious and aggressive change in every part of Russian culture. There was a chauvinistic desire to beat the West at its own game.

3 Russian Futurism

Russian Futurism

inspired by the writings of Marinetti, Russian Futurists sought to create a movement which would cause the Western artists to look to Russia for guidance sought to create a format which was uniquely Russian in style became increasingly used as a device of propaganda and a voice for social reform brought to an end by the government's official endorsement of Socialist Realism

4 The Role of Artists

The Role of Artists

saw their work as a reflection of the social, economic and cultural climate of the moment, and vehicles that could initiate change disseminated their radical ideas which enabled new groups to evolve their own philosophies, keeping visual art in a constant state of development appreciated the significant impact their ideas could have on society

5 The Russian Avant-garde:

The Russian Avant-garde:

Suprematism (1913 - 1919) Constructivism (1913 1921)

6 Suprematism (1913 - 1919)

Suprematism (1913 - 1919)

was a revolutionary art movement promoting pure aesthetic creativity, the supremacy of pure feeling in creative art dispenses with subject matter, perspective, and traditional painting techniques centers on the visual qualities of shape and space, free from the constraints of real world objectivity presents an art of dynamic purity to stir emotions and promote contemplation uses squares, rectangles, circles, triangles and the crosstaking cubist geometry to its logical conclusion of absolute geometric abstraction

7 Kazimir Malevich (1878  1935)

Kazimir Malevich (1878 1935)

8 His Aim

His Aim

to create work so pure and so abstract that it allowed you to transcend into quiet thought , beyond the object and into the spiritual to free art from the burden of the object to demonstrate that a painting can exist independent of any reflection or imitation of the real world

9 Kazimir Malevich

Kazimir Malevich

The Harvest of the Century (1912). Oil on canvas.

10 Kazimir Malevich

Kazimir Malevich

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

11 Kazimir Malevich

Kazimir Malevich

Red Square (1915). Oil on canvas.

12 Kazimir Malevich

Kazimir Malevich

Boy with KnapsackColor Masses In the Fourth Dimension (1915). Oil on canvas.

13 Kazimir Malevich

Kazimir Malevich

Suprematist Composition (1915). Oil on canvas

14 Kazimir Malevich

Kazimir Malevich

Suprematist Painting (1915-16). Oil on canvas

15 Kazimir Malevich

Kazimir Malevich

Suprematism (Supremus No. 58), 1916. Oil on canvas.

16 Kazimir Malevich

Kazimir Malevich

Suprematist Painting (1916). Oil on canvas

17 Kazimir Malevich

Kazimir Malevich

Suprematism (1916-17). Oil on canvas.

18 Kazimir Malevich

Kazimir Malevich

Black Square (1923-29). Oil on canvas.

19 Kazimir Malevich

Kazimir Malevich

Black Circle (1923-29). Oil on canvas.

20 Kazimir Malevich

Kazimir Malevich

Black Cross (1923-29). Oil on canvas.

21 Kazimir Malevich

Kazimir Malevich

Suprematist Composition: White on White (1918) Oil on canvas.

22 Kazimir Malevich

Kazimir Malevich

Suprematist Composition (1923-25). Oil on canvas.

23 Kazimir Malevich

Kazimir Malevich

Sportsmen (1928-30). Oil on canvas.

24 Kazimir Malevich

Kazimir Malevich

Self-portrait (1933). Oil on canvas.

25 Constructivism (1912  1921)

Constructivism (1912 1921)

translated the 'spirit' of the machine age and the new society into a practical visual form shifted its emphasis toward designing functional constructions which could benefit the emerging soviet state ventured into the production of items beneficial to the new Russia, the materials used were appropriate to the product and process whether ceramics, clothing, posters or architecture interested in an immediate application to create a new civilization in the Soviet Union, with art becoming the motor of the propaganda machine

26 The Style

The Style

a purely non-objective approach in the making of artwork, without reference to the real world was essentially geometric, precise and almost mathematical; in fact a number of Rodchenko drawings were executed with compass and ruler used squares, rectangles, circles and triangles as the predominant shapes in carefully composed artworks, whether drawing, painting, design or sculpture emphasized the dominance of the world of machines and structures over nature

27 Methods and Materials

Methods and Materials

dealt with such a wide range of materials that anything was possible; wood, celluloid, nylon, Plexiglas, tin, cardboard and early forms of plastic were used through a variety of constructing methods from glue through to welding lacked the more engineered approach developed by International Constructivism employed new materials, construction, and joining methods, including aluminum, electronic components and chrome-plating

28 Vladimir Tatlin

Vladimir Tatlin

1885-1953

29 Tatlin

Tatlin

began constructing relief sculptures in a variety of materials including tin, glass, wood and plaster combined actual materials through careful construction, where the real space between them would be treated as a pictorial element, thus forcing their inter-relationship as an important aesthetic consideration introduced space as a compositional factor, changing the face of modern sculpture used suspended wire across the corner of a room, divorcing himself from the earthbound tradition of past sculpture

30 Vladimir Tatlin

Vladimir Tatlin

Nude (1910-14). Watercolor.

31 Vladimir Tatlin

Vladimir Tatlin

Sailor (1911). Watercolor.

32 Vladimir Tatlin

Vladimir Tatlin

Corner Relief (1915). Mixed media.

33 Vladimir Tatlin

Vladimir Tatlin

Counter Relief ( 1914-15). Iron, copper, wood, rope.

34 Photograph of Tatlin Inaugurating Monument to Sofia Perovskaya,

Photograph of Tatlin Inaugurating Monument to Sofia Perovskaya,

December 20, 1918, USSR

35 Vladimir Tatlin

Vladimir Tatlin

Monument to the Third International (1991-20). Wood, iron, and glass.

Had the full-scale project been built, it would have been approximately 1300 feet high, the biggest sculptural form ever conceived by man. It was to have been a spiral metal frame tilted at an angle and encompassing a glass cylinder, cube, and cone. The various glass units, housing conferences and meetings, were to revolve, making a complete revolution once a year, once a month, and once a day. The structure would have served to steer the course of humanity on earth.

36 Sculptural maquette of Monument to the Third International as it

Sculptural maquette of Monument to the Third International as it

appeared on the Mayday parade in Moscow in 1926

37 Vladimir Tatlin

Vladimir Tatlin

Letatlin (1932). Wood, cork, metal, silk, ball bearings, and whalebone.

38 Vladimir Tatlin

Vladimir Tatlin

Reconstruction of Letatlin (1929-31).

39 Vladimir Tatlin

Vladimir Tatlin

Letatlin (1932). Wood, cork, metal, silk, ball bearings, and whalebone.

40 Vladimir Mayakovsky

Vladimir Mayakovsky

(1893-1930)

41 Vladamir Mayakovsky

Vladamir Mayakovsky

Revolutionary Poster (1920).

42 Vladamir Mayakovsky

Vladamir Mayakovsky

Revolutionary Poster (1920).

43 El Lissitzky (1890  1956)

El Lissitzky (1890 1956)

44 El Lissitzky

El Lissitzky

Beat the Whites with the Red Wedge (1919).

45 El Lissitzky

El Lissitzky

Untitled (Sketch for Roza Luxemburgs Memorial), 1919-20.

46 El 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.

47 El Lissitzky

El Lissitzky

Proun 5a (1922). Distemper, tempera, varnish and pencil on canvas.

48 El Lissitzky

El Lissitzky

Composition (1920). Black ink, gouache, watercolor and graphite on tan cardboard.

49 El Lissitzky

El Lissitzky

Proun 19D (1922). Gesso, oil, collage, etc., on plywood.

50 El Lissitzky

El Lissitzky

Proun G7 (1923). Distemper, tempera, varnish and pencil on canvas.

51 Alexander Rodchencko

Alexander Rodchencko

1891 - 1956

52 Alexander Rodchenko

Alexander Rodchenko

Construction (1919). Oil on canvas.

53 Alexander Rodchenko

Alexander Rodchenko

Constructivist Collage to the Third International (1919). Collage of pasted papers.

54 Better pacifiers there were never, Im prepared to suck forever

Better pacifiers there were never, Im prepared to suck forever

On sale everywhere.

Alexander Rodchenko and Vladimir Mayakovsky. The Best Nipple (1923). Gouache on photographic board mounted on cardboard.

55 Alexander Rodchenko

Alexander Rodchenko

Illustration for Mayakovskys Pro Eto (1923). Photomontage, pink and black paper on paper.

56 You should be ashamed of yourselfyoure still not on the list of

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. Dobrolet Advertising Poster (1923). Lithograph on paper.

57 Alexander Rodchenko

Alexander Rodchenko

Dobrolet Trademark (1923). Gouache on paper.

58 Alexander Rodchenko

Alexander Rodchenko

Design for Book Cover Incorporating the Word Depot (ca. 1925). Watercolor, tempera, pen and ink, and pencil on paper.

59 Alexander Rodchenko

Alexander Rodchenko

The Workers Club (1925).

60 Alexander Rodchenko

Alexander Rodchenko

Poster for Sergei Einsteins film Battleship Potemkin (1925).

61 Alexander Rodchenko

Alexander Rodchenko

Workers suit (1925).

62 Alexander Rodchenko

Alexander Rodchenko

Conversation with the Finance Official on Poetry. Cover for the book by V. Mayakovsky (1926).

63 Varvara Stepanova 1894-1958

Varvara Stepanova 1894-1958

64 Varvara Stepanova

Varvara Stepanova

Figure (1920). Gouache and pencil on illustration board.

65 Varvara Stepanova

Varvara Stepanova

Collage (1919-20). Paper on paper.

66 Varvara Stepanova

Varvara Stepanova

Tarelkin, costume design of the play Tarelkins Death by Sukhovo-Kobylin (1922). Gouache and blue pencil on paper.

67 Varvara Stepanova

Varvara Stepanova

Design for mens sportswear (1923). Gouache and Indian ink on paper.

68 Varvara Stepanova Dress design for daytime (1924)

Varvara Stepanova Dress design for daytime (1924)

Gouache and Indian ink on paper.

69 Varvara Stepanova The Third Warrior (1925)

Varvara Stepanova The Third Warrior (1925)

Collage and India ink on paper.

70 The End of Constructivism

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

71 Social Realism

Social Realism

Karp Demyanovich Trokhlmenko. Stalin as an Organizer of the October Revolution. Oil on canvas

Isaac Izrailevich Brodskiy. Vladimir Ilich Lenin (1924). Oil on cardboard.

72 Vasili Filippovich Ivanov

Vasili Filippovich Ivanov

Vladimir Ilich Lenin Speaking (1928). Oil on canvas.

73 Peter Panteleimonovich Parkhet

Peter Panteleimonovich Parkhet

Stalin at the 8th Conference of the Highest Council. Oil on canvas.

74 Boris Eremeevich Vladimirski

Boris Eremeevich Vladimirski

Female Worker (1929). Oil on cardboard. Miner (1929). Oil on cardboard.

75 Vladimir Gavrilovich Krikhatzkij: New Tractor (1929)

Vladimir Gavrilovich Krikhatzkij: New Tractor (1929)

Oil on cardboard.

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