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First Working Group Of Constructivists
The First Working Group of Constructivists was formed in March 1921 in Moscow by a group of seven artists. They were soon joined by four other people, to form one of the pioneering groups of Constructivism. They soon become part of the Institute of Artistic Culture (INKhUK), a state-funded body established by the Fine Arts department of the People's Commissariat for Education, Izo-Narkompros. Composition The group was composed of: * Karlis Johansons, (1892–1929) * Alexander Rodchenko, (1891–1956) * Varvara Stepanova, (1894–1958) * Konstantin Medunetsky, (1899–1935) * Georgii Stenberg, (1900–1933) * Vladimir Stenberg, (1899–1982) * Aleksei Gan, (1893–1942) They were soon joined by: * Nikolai Tarabukin, (1889–1956) * Boris Arvatov, (1896–1940) * Osip Brik, (1888–1945) * Boris Kušner Boris Anisimovich Kushner (Russian: Борис Анисимович Кушнер; 1888–1937) was a Russian poet, critic and political activist. He was a publicist for the Cubo- ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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Constructivism (art)
Constructivism is an early twentieth-century art movement founded in 1915 by Vladimir Tatlin and Alexander Rodchenko. Abstract and austere, constructivist art aimed to reflect modern industrial society and urban space. The movement rejected decorative stylization in favour of the industrial assemblage of materials. Constructivists were in favour of art for propaganda and social purposes, and were associated with Soviet socialism, the Bolsheviks and the Russian avant-garde. Constructivist architecture and art had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence was widespread, with major effects upon architecture, sculpture, graphic design, industrial design, theatre, film, dance, fashion and, to some extent, music. Beginnings Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'counter reliefs' of Vladimir Tatlin, which had been exhibited in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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Institute Of Artistic Culture
The Institute of Artistic Culture ( abbreviated to ИНХУК/INKhUK) was a theoretical and research based Russian artistic organisation founded in March Moscow in 1920 and continuing until 1924. Origins It was established under the authority of the Narkompros and funded through the Department of Fine Arts (IZO). In May 1920 Anatoly Lunacharsky appointed Wassily Kandinsky as its first director. David Shterenberg, who was at that time the director of IZO, stated "We organised the INKhUK as a cell for the determination of scientific hypotheses on matters of art". In its first year it attracted about 30 visual artists, Architects, musicians and art critics. Many of them were also taught at Vkhutemas and published in LEF. One of the consequences of state funding was the maintenance of stenographic records, originally kept by Varvara Stepanova and after 1921 by Nikolai Tarabukin. These were published in 1979 by Selim Khan-Magomedov. Kandinsky's Inaugural Programme Kandinsky's pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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People's Commissariat For Education
The People's Commissariat for Education (or Narkompros; , directly translated as the "People's Commissariat for Enlightenment") was the Soviet agency charged with the administration of public education and most other issues related to culture. In 1946, it was transformed into the Ministry of Education. Its first head was Anatoly Lunacharsky. However he described Nadezhda Krupskaya as the "soul of Narkompros". Mikhail Pokrovsky, Dmitry Leshchenko and Evgraf Litkens also played important roles. Lunacharsky protected most of the avant-garde artists such as Vladimir Mayakovsky, Kazimir Malevich, Vladimir Tatlin and Vsevolod Meyerhold. Despite his efforts, the official policy after Joseph Stalin put him in disgrace. Narkompros had seventeen sections, in addition to the main ones related to general education, e.g., * Likbez, a section for liquidation of illiteracy, * " Profobr", a section for professional education, * Glavlit, a section for literature and publishing (also in c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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Karlis Johansons
Karlis Johansson (16 January 1890 – 18 October 1929) was a Latvian-Soviet avant-garde artist. In 1914 he joined the " Green Flower" (in Latvian: " Zaļā puķe", in Russian: " Зелёный цветок") association of avant-garde artists (besides Johansons, there were also Aleksandrs Drēviņš, Voldemārs Tone ( lv) and Konrāds Ubāns. Through the era of the Russian Revolution he lived in Moscow where he was involved in the Russian constructivist movement. In 1921, "self-tensile constructions" were exhibited, which became globally known as "''tensegrity''" in the 1950s as the topical concept was popularized by Richard Buckminster Fuller and sculptor Kenneth Snelson's work.Translated into English from the Latvian Wikipedia article on Kārlis Johansons. Life The Johansons family lived in Meļava, on what is now Piebalga Street in Cēsis, Latvia, their house now long gone. Kārlis' father, Voldemar Johansons, was a carpenter for the famous Cesis Builde ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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Alexander Rodchenko
Aleksander Mikhailovich Rodchenko (; – 3 December 1956) was a Russian and Soviet artist, sculptor, photographer, and graphic designer. He was one of the founders of constructivism and Russian design; he was married to the artist Varvara Stepanova. Rodchenko was one of the most versatile constructivist and productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or down below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again." He is also known ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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Varvara Stepanova
Varvara Fyodorovna Stepanova (; – May 20, 1958) was a Russian artist. With her husband Alexander Rodchenko, she was associated with the Constructivist branch of the Russian avant-garde, which rejected aesthetic values in favour of revolutionary ones. Her activities extended into propaganda, poetry, stage scenery and textile designs. Biography Varvara Stepanova who was born in Kaunas (in modern-day Lithuania) came from peasant origins but was able to get an education at Kazan Art School, Kazan. There she met her later husband and collaborator Alexander Rodchenko. In the years before the Russian Revolution of 1917 they leased an apartment in Moscow, owned by Wassily Kandinsky. These artists became some of the main figures in the Russian avant-garde. The new abstract art in Russia which began around 1915 was a culmination of influences from Cubism, Italian Futurism and traditional peasant art. She designed Cubo-Futurist work for several artists' books, and studied under Jean ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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Konstantin Medunetsky
Kazimir (Konstantin) Kostantinovich Medunetsky (1899, Moscow - c. 1935) was a Constructivism (art), Constructivist sculptor and stage designer who was a pupil of Vladimir Tatlin and Alexander Rodchenko at Vkhutemas (Higher Art and Technical Studios) and founder member of OBMOKHU (Society of Young Russian Artists) in 1919. Medunetsky exhibited designs which included a spiral form at the 1920 OBMOKHU exhibition. ''Spatial Construction (formerly Construction No. 557)'', 1919, in Yale University Art Gallery, is the only surviving example of Medunetsky's sculpture.Lodder, Christina"Medunetsky, Konstantin."in ''Grove Art Online''. Oxford Art Online. Oxford University Press. Retrieved 7 May 2013. It was originally purchased by Kathrine Dreier in 1922 for the Société Anonyme. Medunetsky designed the models for the kiosks in the Soviet part of the Paris Exposition des Arts Decoratifs in 1925 and also the decorations for the Kamerny Theatre. Aliases Aliases used by Medunetsky included: ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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Georgii Stenberg
Vladimir Stenberg ( – May 1, 1982) and Georgii Stenberg ( – October 15, 1933) were Russian avant-garde Soviet artists and designers, best known for designing film posters for Sergei Eisenstein's movies, Dziga Vertov's documentaries and numerous imported films. The pair worked in a constructivist and, later, productivist styles, in a range of media, initially sculpture, subsequently theater design, architecture, and drafting. Their design work spanned clothing, shoes, and rail carriages, but they are most notable for their frequent use of film stills and their innovative approach to composition, which replaced traditional styles with non-narrative collage or assemblage. "Ours are eye-catching posters," Vladimir explained, "designed to shock. We deal with the material in a free manner . . . disregarding actual proportions . . . turning figures upside-down; in short, we employ everything that can make a busy passerby stop in their tracks. The inventive results included a dist ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |
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Vladimir Stenberg
Vladimir (, , pre-1918 orthography: ) is a masculine given name of Slavic origin, widespread throughout all Slavic nations in different forms and spellings. The earliest record of a person with the name is Vladimir of Bulgaria (). Etymology The Old East Slavic form of the name is Володимѣръ ''Volodiměr'', while the Old Church Slavonic form is ''Vladiměr''. According to Max Vasmer, the name is composed of Slavic владь ''vladĭ'' "to rule" and ''*mēri'' "great", "famous" (related to Gothic element ''mērs'', ''-mir'', cf. Theode''mir'', Vala''mir''). The modern ( pre-1918) Russian forms Владимиръ and Владиміръ are based on the Church Slavonic one, with the replacement of мѣръ by миръ or міръ resulting from a folk etymological association with миръ "peace" or міръ "world". Max Vasmer, ''Etymological Dictionary of Russian Language'' s.v. "Владимир"starling.rinet.ru [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] [Amazon] |