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RUSSIAN AVANT-GARDE
Revision
Movements
• There are three main movements,
belonging all of them to the same period of
time:
– Constructivism,
– Suprematism
– and Rayonism.
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.
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.
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.
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.
Constructivism
• Artists belonging to this movement are:
– Rodchenko,
– Tatlin,
– Gabo,
– Pevsner,
– El Lissitzky,
– Malevich.
Tatlin
Gabo
Pevner
Rodchencko
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.
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.
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.
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.
El Lissitzky
Malevich
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
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.
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.
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.
Larionov
Goncharova

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Russian avant garde (new)

  • 2. Movements • There are three main movements, belonging all of them to the same period of time: – Constructivism, – Suprematism – and Rayonism.
  • 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. 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. 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. 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. Constructivism • Artists belonging to this movement are: – Rodchenko, – Tatlin, – Gabo, – Pevsner, – El Lissitzky, – Malevich.
  • 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. 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. 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. 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.
  • 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. 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. 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. 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.