Russian avant garde (new)


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Russian avant garde (new)

  1. 1. RUSSIAN AVANT-GARDE Revision
  2. 2. Movements • There are three main movements, belonging all of them to the same period of time: – Constructivism, – Suprematism – and Rayonism.
  3. 3. Influences • The three of them had connection with other movements of the time as – Cubism, – Neo-Plasticism – and Bauhaus. • Other of their common characteristics is the depiction of abstract form or figurative but with a great influence of Cubism.
  4. 4. Constructivism • Constructivism was first created in 1913 when the sculptor Tatlin discovered the works of Braque and Picasso in Paris. • Back in Russia he began producing assemblages but abandoning any precise subject of themes.
  5. 5. Constructivism • The Constructivist art refers to the optimistic, non-representational relief construction, sculpture, kinetics and painting. • The artists did not believe in abstract ideas, rather they tried to link art with concrete and tangible ideas.
  6. 6. Constructivism • The artists did not believe in abstract ideas, rather they tried to link art with concrete and tangible ideas. • Their depicted art was mostly three dimensional, and they also portrayed art that could be connected to their proletarian believes.
  7. 7. Constructivism • Artists belonging to this movement are: – Rodchenko, – Tatlin, – Gabo, – Pevsner, – El Lissitzky, – Malevich.
  8. 8. Tatlin
  9. 9. Gabo
  10. 10. Pevner
  11. 11. Rodchencko
  12. 12. Suprematism • Suprematism is considered the first systematic school of purely abstract pictorial composition in the modern movement, based on geometric figures • It was the expression of the supremacy of pure sensation in creative art.
  13. 13. Suprematism • The movement was founded by Malevich in Moscow, parallel to Constructivism • The project was above all the brainchild of the painter and theoretician. • According to him, to liberate art from the ballast of the representational world.
  14. 14. Suprematism • The work of the painter no longer involved representing and creating chromatic harmonies or formal compositions, but rather attaining the limits of painting. • It consisted of geometrical shapes flatly painted on the pure canvas surface.
  15. 15. Suprematism • The pictorial space had to be emptied of all symbolic content and all content signifying form. • It had to be decongested and cleared so as to show a new reality where thought was of prime importance.
  16. 16. El Lissitzky
  17. 17. Malevich
  18. 18. Rayonism • Rayonism represents one of the first steps toward the development of abstract art in Russia and was founded by Larionov and Goncharova. • The style was a synthesis of Cubism, Futurism and Orphism and it is also known as Cubo-Futurism
  19. 19. Rayonism • They turned their back on all manner of technical formulation and all kinds of erudite cultural references. • They produced works made up of diagonal beams of colour.
  20. 20. Rayonism • Blocky Cubist shapes are closely packed in a dynamic Futurist rhythm across a surface also marked by a series of sharp diagonals. • Some paintings featured one predominant colour.
  21. 21. Rayonism • 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.
  22. 22. Larionov
  23. 23. Goncharova