saturday, march 26, 16 - wordpress.com · saturday, march 26, 16. vladimir tatlin and alexander...

Saturday, March 26, 16

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

innovative directions of their own.


Ilya Zdanevichinsert cover for Milliork by Aleksei Kruchenykh 1919


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

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


Kasimir Malevich Black Square1913


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


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.


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.


The Constructivist ideal was shown through the work of El Lissitzky


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


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


El Lissitzkylayout for a cover of Broom, vol. 51922


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


El Lissitzkycover of For The Voice by Mayakovsky1923


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


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


El Lissitzkybook cover forThe Isms of Art1924


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

El Lissitzkytitle page for The Isms of Art1924


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

El Lissitzkycover of Notes of a Poet by Ilia Selvinskii 1928


El Lissitzkyexhibition poster1929


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.”


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


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


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




Alexander Rodchenkopaperback book covers 1924


http://youtu.be/mQURCU6jN58




Color was used as an important structural element.

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


Salomon Telingatercover for The World Belongs to Kirsanov1930


Georgy and Vladimir Augustovich Stenbergfilm poster,undated


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


Gustav KlutsisSpartakiada postcard1928

His work is often compared to that of John Heartfield.


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


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


Vladimir Vasilevich Lebedevpage spread from the book,

The Adventures of the Scarecrow, 1922


Vladimir Vasilevich Lebedevfrom the book, Circus1928


Vladimir Vasilevich Ledebev, page spread, Circus, 1928


Launched in the Netherlands in the summer of 1917,

Théo van Doesburg is considered the founder and guiding spirit

of the De Stijl movement.


Piet MondrianComposition with Red, Yellow and Blue 1922


Théo van Doesburg and Laszlo Moholy-Nagy book cover1925


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


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


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


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

Kleine Dada Soirée poster, 1920


Théo van Doesburg, dadaist poetry from De Stijl, 1921


El Lissitzky, cover and page from De Stijl, 1922


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

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


http://youtu.be/9fmiKOOvLUo




saturday, march 26, 16 - wordpress.com · saturday, march 26, 16. vladimir tatlin and alexander...

Documents