El (Lazar Markovich) Lissitzky (1890–1941)Įl Lissitzky was a Russian-born painter, designer, and typographer who was associated with both the Suprematist and the Constructivist movements. Playbill for Inga, staged by the Theatre for the Revolution, Alexander Rodchenko, 1929. Providing ample material of great demonstrative value and conviction, it dispenses with illustration by drawing.” In March 1923, Rodchenko published an article in which he said, “There is now a new illustrative method: montage of printed and photographic materials focused on a certain subject. Although he created much of his earlier work for political purposes, he went on to apply this artistic movement to ads for ordinary objects such as beer, pacifiers, cookies, watches, and other consumer products. He eschewed easel painting for “industrial art,” as he called it-that is, art with a social purpose and message for the masses. Although his original focus was painting, Rodchenko later went on to play around with photography, typography, and imagery, combining them into what was then referred to as montage or photomontage. In fact, the term “Constructivist” was originally coined by the artist Kazimir Malevich in reference to the work of Rodchenko. Alexander (Aleksandr) Rodchenko (1891–1956)Īlexander Rodchenko was a Russian designer, photographer, painter, and sculptor who was considered one of the founders of the Russian Constructivist movement. Most of the work speaks for itself, but I have provided explanations for those pieces that call for it. Here is a little background and a sampling of each of their work. Three of the most influential designers of the Russian Constructivist period were Alexander Rodchenko, El Lissitzky, and the Stenberg Brothers. This movement was a dramatic shift from previous, more conventional movements and philosophies of art.Īlthough originally intended for political messages, the Constructivist style seeped into product advertisements and posters of all kinds, as well as book covers and their interiors. The effect was exciting, often jolting, and even shocking, which was in line with the artists’ goal to change society. The resulting work was extremely dramatic, containing layered images coupled with powerful type treatments. These works frequently had diagonal elements with circular and angled type and images. Russian Constructivism characteristically used minimal color palettes, often just red, black and sometimes yellow. The tools and techniques of more traditional, figurative painting and art styles were replaced with “constructed” photomontages and strong typography. ![]() This echoed the revolutionary mood of the times, as the revolutionary proletariat movement was replacing the bourgeois culture. ![]() The Russian Constructivists were proponents of functional art and design as opposed to decorative, expressive art (such as easel painting). It reflected a belief in art for social change rather than personal expression. Russian Constructivism was considered more of a philosophy than just an art style. This revolution was a time of great dissent and change, leading to the dismantling of the tsarist regime in favor of the Bolsheviks. ![]() Movie poster for Ninich, by Vladimir and Georgii Stenberg, 1927Ĭonstructivism was a groundbreaking movement in art, design, and architecture that began in Russia in 1913, but really rose to prominence after the Russian Revolution of 1917.
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