56-457: The Realistic Manifesto is a key text of Constructivism . Written by Naum "Gabo" Neemia Pevzner and cosigned by his brother, Antoine Pevsner , the Manifesto laid out their theories of artistic expression in the form of five "fundamental principles" of their constructivist practice. The Manifesto focused largely on divorcing art from such conventions as use of lines, color, volume, and mass. In
112-485: A distinctive style of photography, involving jagged angles and contrasts and abstract use of light, which paralleled the work of László Moholy-Nagy in Germany: The major practitioners of this included, along with Rodchenko, Boris Ignatovich and Max Penson , among others. Kulagina, collaborating with Klutiso, utilised the use of photomontage to create political and personal posters of representative subjects from women in
168-453: A fixation on jazz-age America which was characteristic of the philosophy, with its praise of slapstick-comedy actors like Charlie Chaplin and Buster Keaton , as well as of Fordist mass production. Like the photomontages and designs of Constructivism, early Soviet cinema concentrated on creating an agitating effect by montage and 'making strange'. Although originated in Germany, photomontage
224-455: A kind of Constructivist flapper dress before her early death in 1924, the plans for which were published in the journal LEF . In these works, Constructivists showed a willingness to involve themselves in fashion and the mass market, which they tried to balance with their Communist beliefs. The Soviet Constructivists organised themselves in the 1920s into the 'Left Front of the Arts', who produced
280-513: A letter: "...a very interesting era has begun." Unlike his friends, Uban and Tone, Johannson did not return to Latvia in 1918, but stayed with Gustav Klutsis , Karl Veidemani , and Voldemar Anderson in Moscow. There he developed a different view of the arts, denying the emotional, fanciful, and ornamental. Johansons participated in a group of artists seeking new tasks for artists in post- revolution Russia . They called themselves Constructivists . In
336-648: A life-long friendship with Konrāds Ubāns , Voldemārs Tone , and Aleksandrs Drēviņš , also a Cesmen. When the First World War broke out in 1915 students from Riga Art School went to the Penza School of Arts in Russia. Johansons' parents wrote, "...We think you will have to join the Latvian rifle battalions." In one of his letters Johansons wrote the duties of both art students and soldiers alike were to "draw as much as possible
392-419: A major controversy in the Moscow group in 1920 when Gabo and Pevsner's Realistic Manifesto asserted a spiritual core for the movement. This was opposed to the utilitarian and adaptable version of Constructivism held by Tatlin and Rodchenko. Tatlin's work was immediately hailed by artists in Germany as a revolution in art: a 1920 photograph shows George Grosz and John Heartfield holding a placard saying 'Art
448-542: A more socially oriented group who wanted this art to be absorbed in industrial production. A split occurred in 1922 when Pevsner and Gabo emigrated. The movement then developed along socially utilitarian lines. The productivist majority gained the support of the Proletkult and the magazine LEF, and later became the dominant influence of the architectural group O.S.A. , directed by Alexander Vesnin and Moisei Ginzburg . A number of Constructivists would teach or lecture at
504-400: A technician, rather as an "inventor" of design methods he wanted to develop into practical industrial products. According to Maria Gough , Johannson proved it was possible to overcome the contradiction between art and industrial production. Johansons commented on his own work, "From painting to sculpture, from sculpture to construction, from construction to technology and invention - this
560-471: Is Dead – Long Live Tatlin's Machine Art', while the designs for the tower were published in Bruno Taut 's magazine Frühlicht . The tower was never built, however, due to a lack of money following the revolution. Tatlin's tower started a period of exchange of ideas between Moscow and Berlin, something reinforced by El Lissitzky and Ilya Ehrenburg 's Soviet-German magazine Veshch-Gegenstand-Objet which spread
616-588: Is my chosen path, and will certainly be the ultimate goal of every revolutionary artist." Russian artist Viatcheslav Koleichuk claimed the idea of tensegrity was invented first by Johansons. Koleichuk's claim was backed up by Maria Gough for one of the works at the 1921 constructivist exhibition. Kenneth Snelson had acknowledged the Constructivists as an influence for his work and French engineer David Georges Emmerich noted how Kārlis Johansons's work seemed to foresee tensegrity concepts. He never knew of
SECTION 10
#1733084997768672-680: Is now common and critical to many structures. The new understanding of tensegrity structures was well expressed by Buckminster Fuller as, " islands of compression floating in a great ocean of tension ." It's taken some time to better comprehend Johansons' discoveries and even today they've not been fully explored or embraced. Johansons' unique legacy is exhibited at the Cēsis History and Art Museum retaining oil paintings, watercolors, several prints, illustrated sketchbooks and pages, workshop exercises, sculptural composition sketches, original sculptures, and sculptural masks. Most of these were created at
728-544: Is one of many examples of photomontage that utilises photo collage to create a multi-layer composition. This brought forth the Constuctor's artistic vision and technique of utilising 2D space with limited technology. However Constructivist montages would be less 'destructive' than those of Dadaism. Perhaps the most famous of these montages was Rodchenko's illustrations of the Mayakovsky poem About This . LEF also helped popularise
784-670: The Bauhaus schools in Germany, and some of the VKhUTEMAS teaching methods were adopted and developed there. Gabo established a version of Constructivism in England during the 1930s and 1940s that was adopted by architects, designers and artists after World War I (see Victor Pasmore ), and John McHale . Joaquín Torres García and Manuel Rendón were instrumental in spreading Constructivism throughout Europe and Latin America. Constructivism had an effect on
840-639: The Stenberg brothers . Later the definition would be extended to designs for two-dimensional works such as books or posters, with montage and factography becoming important concepts. As much as involving itself in designs for industry, the Constructivists worked on public festivals and street designs for the post-October revolution Bolshevik government. Perhaps the most famous of these was in Vitebsk , where Malevich's UNOVIS Group painted propaganda plaques and buildings (the best known being El Lissitzky 's poster Beat
896-732: The Suprematism of Kazimir Malevich. Constructivism first appears as a term in Gabo's Realistic Manifesto of 1920. Aleksei Gan used the word as the title of his book Constructivism , printed in 1922. Constructivism as theory and practice was derived largely from a series of debates at the Institute of Artistic Culture (INKhUK) in Moscow, from 1920 to 1922. After deposing its first chairman, Wassily Kandinsky , for his 'mysticism', The First Working Group of Constructivists (including Liubov Popova , Alexander Vesnin , Rodchenko , Varvara Stepanova , and
952-575: The deconstruction literary approach). It was developed by architects Zaha Hadid , Rem Koolhaas and others during the late 20th and early 21st centuries. Zaha Hadid by her sketches and drawings of abstract triangles and rectangles evokes the aesthetic of constructivism. Though similar formally, the socialist political connotations of Russian constructivism are deemphasized by Hadid's deconstructivism. Rem Koolhaas' projects revive another aspect of constructivism. The scaffold and crane -like structures represented by many constructivist architects are used for
1008-850: The 1950s. In photos of the 1921 INKhUK ( Institute of Artistic Culture ) exhibition, Maria Elizabeth Gough identified a total of nine sculptures made by Johansons, now numbered I-IX. Not a single one of Johansons' sculptures has been preserved, however, there are four prints in the former Costakis collection in the State Museum of Contemporary Art in Thessaloniki . In 2015, at the Tretyakov Gallery , Moscow, and in Cēsis, eight of Johansons' works were exhibited, reconstructed by well-known Moscow artist-designer Vyacheslav Koleichuk based on measurements accurately interpolated from 1921 photographs due to
1064-496: The 2nd exhibition of The Society of Young Artists . In the same year he participated in the INKhUK (Institute of Artistic Culture) debate, "Analysis of Construction and Composition and their Mutual Demarcation". At the "First Russian Art Exhibition, Berlin, 1922" his works were shown. In 1923 or 1924 until 1926, Johannson was appointed operating manager of the " Red Exhibition " works (Красный прокатчик). He did not operate there as
1120-862: The Municipal Art School in Riga during the 1910s, in 1914 Johansons joined the " Green Flower " ( Latvian : Zaļā puķe ) artist group. He attended the art school in Penza in 1915-16. During the October Revolution and in 1918 he lived in Moscow and worked in the artist's workshop of the Latvian National Commission under the direction of Aleksandr Drevin , also a "Green Flower" member. In 1919/20 he returned to reside in Penza. At art school, Johansons developed
1176-555: The Russian Constructivists: the INKhUK debates of 1920–22 had culminated in the theory of Productivism propounded by Osip Brik and others, which demanded direct participation in industry and the end of easel painting. Tatlin was one of the first to attempt to transfer his talents to industrial production, with his designs for an economical stove, for workers' overalls and for furniture. The Utopian element in Constructivism
SECTION 20
#17330849977681232-777: The Stenberg brothers. These ideas would influence German directors like Bertolt Brecht and Erwin Piscator , as well as the early Soviet cinema. The key work of Constructivism was Vladimir Tatlin's proposal for the Monument to the Third International (Tatlin's Tower) (1919–20) which combined a machine aesthetic with dynamic components celebrating technology such as searchlights and projection screens. Gabo publicly criticised Tatlin's design saying, "Either create functional houses and bridges or create pure art, not both." This had already caused
1288-506: The US. The Constructivists' main early political patron was Leon Trotsky , and it began to be regarded with suspicion after the expulsion of Trotsky and the Left Opposition in 1927–28. The Communist Party would gradually favour realist art during the course of the 1920s (as early as 1918 Pravda had complained that government funds were being used to buy works by untried artists). However it
1344-523: The United States. The Johansons tensile structures were re-coined " tensegrity structures" by Buckminster Fuller , now a field of research employing countless worldwide. The National Aeronautics and Space Administration (NASA) explores various uses of similar structures in space. His "self-stabilizing constructions" are considered prototypes of the tensegrity construction systems further developed by Richard Buckminster Fuller and Kenneth Snelson in
1400-675: The Whites with the Red Wedge (1919)). Inspired by Vladimir Mayakovsky 's declaration 'the streets our brushes, the squares our palettes', artists and designers participated in public life during the Civil War. A striking instance was the proposed festival for the Comintern congress in 1921 by Alexander Vesnin and Liubov Popova, which resembled the constructions of the OBMOKhU exhibition as well as their work for
1456-635: The early twenties. Through their collaboration with Otto Neurath and the Gesellschafts- und Wirtschaftsmuseum such artists as Gerd Arntz , Augustin Tschinkel and Peter Alma affected the development of the Vienna Method . This link was most clearly shown in A bis Z , a journal published by Franz Seiwert , the principal theorist of the group. They were active in Russia working with IZOSTAT and Tschinkel worked with Ladislav Sutnar before he emigrated to
1512-517: The easel painting and traditional narratives that elements of the Communist Party were trying to revive then. Important Constructivists were very involved with cinema, with Mayakovsky acting in the film The Young Lady and the Hooligan (1919), Rodchenko's designs for the intertitles and animated sequences of Dziga Vertov 's Kino Eye (1924), and Aleksandra Ekster designs for the sets and costumes of
1568-706: The era of the Russian Revolution he lived in Moscow where he was involved in the Russian constructivist movement. In 1921, "self-tensile constructions" were exhibited, which became globally known as " tensegrity " in the 1950s as the topical concept was popularized by Buckminster Fuller and sculptor Kenneth Snelson 's work. The Johansons family lived in Meļava, on what is now Piebalga Street in Cēsis , Latvia , their house now long gone. Kārlis' father, Voldemar Johansons,
1624-507: The fall of 1920 he joined the Institute of Artistic Culture ( Russian : Институт Художественной Культуры abbreviated to ИНХУК/ INKhUK , de ), a theoretical and research based artistic organisation in Moscow founded March 1920 until 1924. At the INKhUK (Institute of Artistic Culture) he was a founding member of the " First Working Group of Constructivists ". In 1921 the Constructivists expressed their ideas at an ambitious Moscow exhibition under
1680-526: The finished forms of his designs and buildings. Karl Ioganson Karl Johansson (16 January 1890 – 18 October 1929) was a Latvian - Soviet avant-garde artist. In 1914 he joined the " Green Flower " (in Latvian: " Zaļā puķe ", in Russian: " Зелёный цветок ") association of avant-garde artists (besides Johansons, there were also Aleksandrs Drēviņš , Voldemārs Tone ( lv ) and Konrāds Ubāns . Through
1736-475: The former represented best by the brightly coloured, geometric posters of the Stenberg brothers (Georgii and Vladimir Stenberg), and the latter by the agitational photomontage work of Gustav Klutsis and Valentina Kulagina . In Cologne in the late 1920s Figurative Constructivism emerged from the Cologne Progressives , a group which had links with Russian Constructivists, particularly Lissitzky, since
Realistic Manifesto - Misplaced Pages Continue
1792-502: The heroic Latvian positions for the new Latvian book of life." During the war was a strenuous active stage in the sculptor's work as Johansons and Konrad Ubana made a series of gypsum plaster masks from fallen artillery riflemen. After the revolution and collapse of the Riga Front most Latvian riflemen with the Russian army retreated to Russia as did the young artists with the Latvian riflemen. On 26 June 1917, Kārlis wrote to his parents in
1848-513: The idea of 'Construction art', as did the Constructivist exhibits at the 1922 Russische Ausstellung in Berlin, organised by Lissitzky. A Constructivist International was formed, which met with Dadaists and De Stijl artists in Germany in 1922. Participants in this short-lived international included Lissitzky, Hans Richter , and László Moholy-Nagy . However the idea of 'art' was becoming anathema to
1904-500: The industrial assemblage of materials. Constructivists were in favour of art for propaganda and social purposes, and were associated with Soviet socialism , the Bolsheviks and the Russian avant-garde . Constructivist architecture and art had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence
1960-445: The influence of constructivism. In the 1980s graphic designer Neville Brody used styles based on Constructivist posters that initiated a revival of popular interest. Also during the 1980s designer Ian Anderson founded The Designers Republic , a successful and influential design company which used constructivist principles. So-called Deconstructivist architecture shares elements of approach with Constructivism (its name refers more to
2016-421: The influential journal LEF , (which had two series, from 1923 to 1925 and from 1927 to 1929 as New LEF ). LEF was dedicated to maintaining the avant-garde against the critiques of the incipient Socialist Realism , and the possibility of a capitalist restoration, with the journal being particularly scathing about the 'NEPmen', the capitalists of the period. For LEF the new medium of cinema was more important than
2072-557: The loss of the original sculptures. The fundamental concept in all of Johansons' work relates to one issue: How structural tensile-stress stability occurs when objects are bound with simple contact without fusing, adhesives, or chemical reactions. Johansons called these simple connections "cold" as alternatives to "hot" rivets or welds. "All the cold joints are crosses," Johansons declared, as all of his work investigates intersections of material. Johansons' work helped revolutionize humanity's structural understanding of things. Tensile-stress
2128-486: The modern masters of Latin America such as: Carlos Mérida , Enrique Tábara , Aníbal Villacís , Édgar Negret , Theo Constanté , Oswaldo Viteri , Estuardo Maldonado , Luis Molinari , Carlos Catasse , João Batista Vilanova Artigas and Oscar Niemeyer , to name just a few. There have also been disciples in Australia, the painter George Johnson being the best known. In New Zealand, the sculptures of Peter Nicholls show
2184-607: The new social demands and industrial tasks required of the new regime. Two distinct threads emerged, the first was encapsulated in Antoine Pevsner's and Naum Gabo's Realist manifesto which was concerned with space and rhythm, the second represented a struggle within the Commissariat for Enlightenment between those who argued for pure art and the Productivists such as Alexander Rodchenko, Varvara Stepanova and Vladimir Tatlin,
2240-543: The occasion of an exhibition with Gustav Klucis in Moscow. Extracts were reproduced in the first issue of G in 1923. This art movement –related article is a stub . You can help Misplaced Pages by expanding it . Constructivism (art) Constructivism is an early twentieth-century art movement founded in 1915 by Vladimir Tatlin and Alexander Rodchenko . Abstract and austere, constructivist art aimed to reflect modern industrial society and urban space. The movement rejected decorative stylization in favour of
2296-561: The profound influence of his ideas. To his Cesis family in letters from Moscow Johannson expressed a strong desire to return to his homeland, but could not as he became seriously ill and died in 1929 from untreated malaria he caught in the Caucasus region. That same year a photo of Johansons's work was published in a Bauhaus book in Germany, one of the 20th century's most influential design schools . Johannson's work became part of teaching curriculums , and later Bauhaus professors shared it with
Realistic Manifesto - Misplaced Pages Continue
2352-596: The science fiction film Aelita (1924). The Productivist theorists Osip Brik and Sergei Tretyakov also wrote screenplays and intertitles, for films such as Vsevolod Pudovkin 's Storm over Asia (1928) or Victor Turin's Turksib (1929). The filmmakers and LEF contributors Dziga Vertov and Sergei Eisenstein as well as the documentarist Esfir Shub also regarded their fast-cut, montage style of filmmaking as Constructivist. The early Eccentrist movies of Grigori Kozintsev and Leonid Trauberg ( The New Babylon , Alone ) had similarly avant-garde intentions, as well as
2408-455: The text, Gabo and Pevsner reject the successive stylistic innovations of modern art as mere illusionism (beginning with Impressionism , and including Cubism and Futurism ), advocating instead an art grounded in the material reality of space and time: "The realization of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art." The text was first published on August 5, 1920, in poster form, on
2464-417: The theatre'. Meyerhold developed a 'biomechanical' acting style, which was influenced both by the circus and by the 'scientific management' theories of Frederick Winslow Taylor . Meanwhile, the stage sets by the likes of Vesnin, Popova and Stepanova tested Constructivist spatial ideas in a public form. A more populist version of this was developed by Alexander Tairov , with stage sets by Aleksandra Ekster and
2520-517: The theatre. There was a great deal of overlap during this period between Constructivism and Proletkult , the ideas of which concerning the need to create an entirely new culture struck a chord with the Constructivists. In addition some Constructivists were heavily involved in the 'ROSTA Windows', a Bolshevik public information campaign of around 1920. Some of the most famous of these were by the poet-painter Vladimir Mayakovsky and Vladimir Lebedev . The constructivists tried to create works that would make
2576-482: The theorists Aleksei Gan , Boris Arvatov and Osip Brik ) would develop a definition of Constructivism as the combination of faktura : the particular material properties of an object, and tektonika , its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a means of participating in industry: the OBMOKhU (Society of Young Artists) exhibition showed these three dimensional compositions, by Rodchenko, Stepanova, Karl Ioganson and
2632-457: The umbrella of The Society of Young Artists ( Russian : Общество Молодых Художников abbreviated to ОБМОХУ/ OBMOKhU , ru , de ). Johannson's nine three-dimensional structures, "self-stressed constructions", exhibited innovative tension-integrity strain-stress principles of tensegrity . They were functional constructive systems to base new creative types of production and structures on. He exhibited his designs from 22 May through June 1921, at
2688-524: The viewer an active viewer of the artwork. In this it had similarities with the Russian Formalists ' theory of 'making strange', and accordingly their main theorist Viktor Shklovsky worked closely with the Constructivists, as did other formalists like the Arch Bishop. These theories were tested in theatre, particularly with the work of Vsevolod Meyerhold , who had established what he called 'October in
2744-498: The workforce to satirise the humour of the local government. This also shared many characteristics with the early documentary movement. The book designs of Rodchenko, El Lissitzky and others such as Solomon Telingater and Anton Lavinsky were a major inspiration for the work of radical designers in the West, particularly Jan Tschichold . Many Constructivists worked on the design of posters for everything from cinema to political propaganda:
2800-505: Was a carpenter for the famous Cesis Builders Brothers Meganeels; his mother, Kristin, cared for their seven children. Kārlis started pre-school in 1901, then at the Cesis School of the City. He was not a successful pupil and it is unknown if he was artistic at school, however his sisters were crafty as Mary embroidered and Rosalie used pencil and colors. Johansons' playmate Jānis Zariņš said, "There
2856-442: Was a popular art form for Constructivists to create visually striking art and a method to convey change; " ". The Constructivists were early developers of the techniques of photomontage . Gustav Klutsis' 'Dynamic City' and 'Lenin and Electrification' (1919–20) are the first examples of this method of montage, which had in common with Dadaism the collaging together of news photographs and painted sections. Lissitzky's 'The Constructor'
SECTION 50
#17330849977682912-490: Was always talk of art and music in their home." In the autumn of 1910 Kārlis studied at the Riga School of Art . Johansons' choice to pursue an artistic career was unfavorable to his strict father Voldemar. However, in 1911, his father supportively wrote, "Dear son, Kārlis ...I intend to give you those wedge frames to be an artist's easel." Another letter: "...I want you to take a little clay with you from here." After attending
2968-636: Was intended to create a reaction, and function emotionally – most were designed for the state-owned department store Mosselprom in Moscow, for pacifiers, cooking oil, beer and other quotidian products, with Mayakovsky claiming that his 'nowhere else but Mosselprom' verse was one of the best he ever wrote. Additionally, several artists tried to work with clothes design with varying success: Varvara Stepanova designed dresses with bright, geometric patterns that were mass-produced, although workers' overalls by Tatlin and Rodchenko never achieved this and remained prototypes. The painter and designer Lyubov Popova designed
3024-796: Was maintained by his 'letatlin', a flying machine which he worked on until the 1930s. In 1921, the New Economic Policy was established in the Soviet Union, which opened up more market opportunities in the Soviet economy. Rodchenko , Stepanova , and others made advertising for the co-operatives that were now in competition with other commercial businesses. The poet-artist Vladimir Mayakovsky and Rodchenko worked together and called themselves " advertising constructors ". Together they designed eye-catching images featuring bright colours, geometric shapes, and bold lettering. The lettering of most of these designs
3080-504: Was not until about 1934 that the counter-doctrine of Socialist Realism was instituted in Constructivism's place. Many Constructivists continued to produce avant-garde work in the service of the state, such as Lissitzky, Rodchenko and Stepanova's designs for the magazine USSR in Construction . Constructivist architecture emerged from the wider constructivist art movement. After the Russian Revolution of 1917 , it turned its attentions to
3136-519: Was widespread, with major effects upon architecture, sculpture , graphic design , industrial design , theatre, film, dance, fashion and, to some extent, music. Constructivism was a post-World War I development of Russian Futurism , and particularly of the 'counter reliefs' of Vladimir Tatlin , which had been exhibited in 1915. The term itself was invented by the sculptors Antoine Pevsner and Naum Gabo , who developed an industrial, angular style of work, while its geometric abstraction owed something to
#767232