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Saturday, March 26, 16

Filippo Marinetti lectured in Russia. Russian artists absorbed cubism and futurism and quickly added

innovative directions of their own.

Saturday, March 26, 16

Ilya Zdanevichinsert cover for Milliork by Aleksei Kruchenykh 1919

Saturday, March 26, 16

Ilja Zdanevich, pages from Le-Dantyu as a Beacon, 1923Saturday, March 26, 16

David and Vladimir Burliuk, pages from Vladimir Mayakovsky: A Tragedy, 1914

Saturday, March 26, 16

Kasimir Malevich Black Square1913

Saturday, March 26, 16

Kasimir Malevich, Suprematist Composition, 1915Kasimir Malevich, First Circle of Lectures, by Nikolai Punin, 1920

Saturday, March 26, 16

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.

Saturday, March 26, 16

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.

Saturday, March 26, 16

Saturday, March 26, 16

The Constructivist ideal was shown through the work of El Lissitzky

Saturday, March 26, 16

El Lissitzky, PROUN 23, no. 6, 1919El Lissitzky, Beat the Whites with the Red Wedge, 1919

Saturday, March 26, 16

El Lissitzky, cover art for Veshch, 1921-22El Lissitzky, title page for Veshch, 1922

Saturday, March 26, 16

El Lissitzkylayout for a cover of Broom, vol. 51922

Saturday, March 26, 16

El Lissitzky, ad for Pelikan carbon paper, 1924El Lissitzky, poster for Pelikan ink, 1924

Saturday, March 26, 16

El Lissitzkycover of For The Voice by Mayakovsky1923

Saturday, March 26, 16

El Lissitzky, pages from For the Voice, 1923“Beat your drums on the squares of the riots, turned red with the blood of revolution”

Saturday, March 26, 16

El Lissitzky, pages from For the Voice, “Order for the Army of the Arts”

Saturday, March 26, 16

El Lissitzkybook cover forThe Isms of Art1924

Saturday, March 26, 16

El Lissitzky, text format for The Isms of Art, 1924Saturday, March 26, 16

El Lissitzkytitle page for The Isms of Art1924

Saturday, March 26, 16

El Lissitzky, pictorial spread from The Isms of Art, 1924Saturday, March 26, 16

El Lissitzkycover of Notes of a Poet by Ilia Selvinskii 1928

Saturday, March 26, 16

El Lissitzkyexhibition poster1929

Saturday, March 26, 16

El Lissitzky, exhibition design for Pressa, 1928Saturday, March 26, 16

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.”

Saturday, March 26, 16

Alexander Rodchenko, covers for Lef no. 1, 2 &3

Saturday, March 26, 16

Alexander Rodchenkoposter, 1937(The podium is a newspaper proclaiming, “Peace! Bread! Land!”)

Saturday, March 26, 16

http://www.youtube.com/embed/dJ_6_vo8Uak

Saturday, March 26, 16

Alexander Rodchenkopaperback book covers 1924

Saturday, March 26, 16

http://youtu.be/mQURCU6jN58

Saturday, March 26, 16

Color was used as an important structural element.

Red was favored because of its visual power AND because of its association with revolution.

Saturday, March 26, 16

Salomon Telingatercover for The World Belongs to Kirsanov1930

Saturday, March 26, 16

Georgy and Vladimir Augustovich Stenbergfilm poster,undated

Saturday, March 26, 16

G. & V. Augustovich Stenberg, The 11th Year of the Revolution poster, 1928G. & V. Augustovich Stenberg, The General poster, 1929

Saturday, March 26, 16

Gustav KlutsisSpartakiada postcard1928

His work is often compared to that of John Heartfield.

Saturday, March 26, 16

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

Saturday, March 26, 16

Vladimir Vasilevich Lebedev, page from the book, The Adventures of the Scarecrow, 1922

Saturday, March 26, 16

Vladimir Vasilevich Lebedevpage spread from the book,

The Adventures of the Scarecrow, 1922

Saturday, March 26, 16

Vladimir Vasilevich Lebedevfrom the book, Circus1928

Saturday, March 26, 16

Vladimir Vasilevich Ledebev, page spread, Circus, 1928

Saturday, March 26, 16

Launched in the Netherlands in the summer of 1917,

Théo van Doesburg is considered the founder and guiding spirit

of the De Stijl movement.

Saturday, March 26, 16

Piet MondrianComposition with Red, Yellow and Blue 1922

Saturday, March 26, 16

Théo van Doesburg and Laszlo Moholy-Nagy book cover1925

Saturday, March 26, 16

Vilmos Huszar, cover and title page designs for De Stijl, 1917-18

Saturday, March 26, 16

Théo van Doesburg, cover and ad designs for De Stijl, 1921-22

Saturday, March 26, 16

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

Saturday, March 26, 16

Théo van Doesburg, exhibition poster, 1920Théo van Doesburg and Kurt Schwitters

Kleine Dada Soirée poster, 1920

Saturday, March 26, 16

Théo van Doesburg, dadaist poetry from De Stijl, 1921

Saturday, March 26, 16

El Lissitzky, cover and page from De Stijl, 1922

Saturday, March 26, 16

The Schroeder House, Utrecht, 1924Saturday, March 26, 16

Laszlo Moholy-Nagy, cover and page spread designs for i10, 1927

Saturday, March 26, 16

http://youtu.be/9fmiKOOvLUo

Saturday, March 26, 16