lissitzky, rodchenko by jordan geisert
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Rodchenko
Painting, Design, Photography, Film, TheatreBorn in St. PetersburgWent to the School of Art in Kazan
Rodchenko
Painting, Design, Photography, Film, TheatreBorn in St. PetersburgWent to the School of Art in Kazan&EL
LISSITZKY
ALEXANDER
RODCHENKO
Rodchenko
Painting, Design, Photography, Film, TheatreBorn in St. PetersburgWent to the School of Art in Kazan
RODCHENKO
Rodchenko’s work highly influenced 20th Century designers
Rodchenko
Painting, Design, Photography, Film, TheatreBorn in St. PetersburgWent to the School of Art in Kazan
LISSITZKY
Lissitzky’s work highly influenced the Bauhaus & Constructivist movements.
SuprematismArt movement focused on basic geo-metric forms; circles, squares, lines,
and rectangles.
Painted in a limited range of colors.
Founded in Russia by Kazimir Malevich around 1913.
“The supremacy of pure artistic feeling.”
Constructivism“Constructivists blurred the line
betwen fine and applied art.”
“The idea that artists should seize the tools of industry and become engineers
of a new sensibility established a powerful foundation for applied art,
including graphic design.”
Basically, it was in favor of art as a practice for social
purposes.
ConnectionBoth them and their wives were
photographers.
Commissioned by the publish-ing-house Izogiz to take photographs
of the White Sea-Baltic Canal.
Both apart of the Suprematism & Constructivism movement.
Both are very versitile; have many different artistic talents.
Rodchenko/Lissitzky
Book by Victor Margolin, focusing on them & another artist.
“Examines the way these three artists negotiated the changing rela-tions between their social ideas and the political realities they con-fronted.”
RodchenkoKnow for Painting, Design, Photography,
Film, & Theatre
Born in St. Petersburg, 1891Went to the School of Art in Kazan
There he met his wife, Varvara Stepanova
The couple moved to Moscow in 1916.Both became involved in an artist trade union. Rodchenko became secretary of the Young Federation club in late 1917.
They didn’t see art as just a profession, but mostly importance of the creativity
itself. “Not painting but creativity
is of significance.”
RodchenkoAfter that, he and his wife participated in
exhibitions together, often filling entire rooms with their works.
In 1920, the Bolshevik governemtn appointed him the Director of the
Museum Bureau & Purchasing Fund.
There he was responsible for overhauling the art schools and museums.
From 1920 to 1930 he taught at the Higher Technical-Artistic Studios.
RodchenkoHis painting and graphic work is highly
technologically orientated.
The paintings are very unconventional; brush-strokes or colors run into
eachother. Rodchenko’s paintings look more like “manufactured” objects.
Rodchenko
Initially starting out as a painter, Rodchenko later remarked that painting
to be dead because light weight cameras had been invented.
Having a camera that didn’t need to be held at the waste, allowed Rodchenko
to photograph different angles that had never been seen before.
Rodchenko utilized a 35 mm Leica camera.
LISSITZKYKnow for Design, Photography, &
Typography
Born in Polschinok, 1890Graduated for Architecture, worked as
assistant to architects
“Wanderings through Europe, including Paris, I teach myself about the fine arts. I cover more than 1200 km in Italy on foot - making sketches and studying.”
In 1919, he was invited to be professor of Architecture and the Graphic Arts at
Vitebsk Art Labour Cooperative.
LISSITZKYDesigned a book in 1923 called,
“Dlja golossa.”Recognized as the starting-point of a
new kind of typography.
In 1926, he begins his “most important work as an artist:
the creation of exhibitions.”
Displays a room of non-objective art with the committe of the International
Art Exhibition in Dresden.
Into the late thirties he retained his reputation as “the master of exhibition art and management into late thirties.”
“Beat the Whites with the Red Wedge,” 1920
A work done about the Russian Civil War, the red wedge is a symbol of the bolsheviks, who are defeating their opponents, the White movement.
“The Isms of Art,” 1925
Designed and coedited, this is a trilingual book present-ing a seminal decade’s succession of modern movements through the work of representative artists.