Constructivism A2 Graphic Communication. Constructivism The name Constructivism describes a trend within the fields of painting, sculpture and graphics.

ConstructivismA2 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.

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 LissitzkyEl Lissitzky.Proun AII (1920).Black ink, gouache,watercolor and graphiteon tan cardboard.

Proun is the name he gavehis non-objective painting-constructions, in which he experimented with the elementsof contemporary geometric abstraction combined withperspective illusions. It is anacronym for “Project for theAffirmation of the New” in Russian.

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

Alexander Rodchenko

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

“Better pacifiers there were never,I’m prepared to suck forever. Onsale everywhere.”

Alexander Rodchenko

Alexander Rodchenko.Illustration for Mayakovsky’sPro Eto (1923).Photomontage, pink and blackpaper on paper.

Alexander Rodchenko

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

“You should be ashamed ofyourself—you’re still not onthe list of Dobrolet stock holders.The whole country has an eye onthis list. One gold ruble makesanyone a stockholder. . . .”

Alexander Rodchenko

Alexander Rodchenko.Design for Book CoverIncorporating 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 pencilon illustration board.

Varvara Stepanova

Varvara Stepanova.Tarelkin, costumedesign of the playTarelkin’s Death bySukhovo-Kobylin (1922).Gouache and blue pencilon paper.

Varvara Stepanova

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

Varvara Stepanova

Varvara StepanovaDress design for daytime(1924). Gouache and Indianink 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