Russian Avant-Garde


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Revision on Russian Avant-Gard painting. Constructivism, Suprematism and Rayonism.

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Russian Avant-Garde

  1. 1. RUSSIAN AVANT-GARDE Revision
  2. 2. Movem ents <ul><li>There are three main movements, belonging all of them to the same period of time: </li></ul><ul><ul><li>Constructivism, </li></ul></ul><ul><ul><li>Suprematism </li></ul></ul><ul><ul><li>and Rayonism. </li></ul></ul>
  3. 3. Influe nces <ul><li>The three of them had co nnection w ith other movements of the time as </li></ul><ul><ul><li>Cubism, </li></ul></ul><ul><ul><li>Neo-Plasticism </li></ul></ul><ul><ul><li>and Bauhaus. </li></ul></ul><ul><li>Other of their common characteristics is the depiction of abstract form or figurative but with a great influence of Cubism. </li></ul>
  4. 4. Constru ctivis m <ul><li>Constructivism was first created in 1913 when the sculptor Tatlin discovered the works of Braque and Picasso in Paris. </li></ul><ul><li>Back in Russia he began producing assemblages but abandoning any precise subject of themes. </li></ul>
  5. 5. Constru ctivis m <ul><li>The Constructivist art ref ers to the optimistic, non-representational relief construction, sculpture, kinetics and painting. </li></ul><ul><li>The artists did not believe in abstract ideas, rather they tried to link art with concrete and tangible ideas. </li></ul>
  6. 6. Constru ctivis m <ul><li>The artists did not believe in abstrac t ideas, rather they tried to link art with concrete and tangible ideas. </li></ul><ul><li>Their depicted art was mostly three dimensional, and they also portrayed art that could be connected to their proletarian believes. </li></ul>
  7. 7. Constru ctivis m <ul><li>Artists belonging to this movement are: </li></ul><ul><ul><li>Rodchenko, </li></ul></ul><ul><ul><li>Tatlin, </li></ul></ul><ul><ul><li>Gabo, </li></ul></ul><ul><ul><li>Pevsner, </li></ul></ul><ul><ul><li>El Lissitzky, </li></ul></ul><ul><ul><li>Malevich. </li></ul></ul>
  8. 8. Suprem atism <ul><li>Suprematism is considere d the first systematic school of purely abstract pictorial composition in the modern movement, based on geometric figures </li></ul><ul><li>It was the expression of the supremacy of pure sensation in creative art. </li></ul>
  9. 9. Suprem atism <ul><li>The movement was found ed by Mal evich in Moscow, parallel to Constructivism </li></ul><ul><li>The project was above all the brainchild of the painter and theoretician. </li></ul><ul><li>According to him, to liberate art from the ballast of the representational world. </li></ul>
  10. 10. Suprem atism <ul><li>The work of the painter n o longer in volved representing and creating chromatic harmonies or formal compositions, but rather attaining the limits of painting. </li></ul><ul><li>It consisted of geometrical shapes flatly painted on the pure canvas surface. </li></ul>
  11. 11. Suprem atism <ul><li>The pictorial space had to be emptie d of all symbolic content and all content signifying form. </li></ul><ul><li>It had to be decongested and cleared so as to show a new reality where thought was of prime importance. </li></ul>
  12. 12. Rayon ism <ul><li>Rayonism represents one of the firs t steps toward the development of abstract art in Russia and was founded by Larionov and Goncharova. </li></ul><ul><li>The style was a synthesis of Cubism, Futurism and Orphism and it is also known as Cubo-Futurism </li></ul>
  13. 13. Rayon ism <ul><li>They turned their back on all manner of technical formulation and all kinds of erudite cultural references. </li></ul><ul><li>They produced works made up of diagonal beams of colour. </li></ul>
  14. 14. Rayon ism <ul><li>Blocky Cubist shapes are closely pa cked in a dynamic Futurist rhythm across a surface also marked by a series of sharp diagonals. </li></ul><ul><li>Some paintings featured one predominant colour. </li></ul>
  15. 15. Rayon ism <ul><li>These compositions were worked out in an autonomous way: only the rhythms and harmonies then guided the painter in his attempt to make the dynamic radiation of the colours perceptible . </li></ul>