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Russian Constructivism De Stijl in the Netherlands Russian Constructivism 26 Constructivism was an artistic and architectural movement that originated in Russia from 1919 onward which rejected the idea of "art for art's sake" in favour of art as a practice directed towards social purposes and uses. Constructivism as an active force lasted until around 1934, having a great deal of effect on developments in the art of the Weimar Republic (post world war one Germany) and elsewhere, before being replaced by Socialist Realism. Its motifs have sporadically recurred in other art movements since. It had a lasting impact on modern design through some of its members becoming involved with the Bauhaus group. Constructivism had a particularly lasting effect on typography and graphic design. Constructivism 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. Early modern movements around WWI were idealistic, seeking a new order in art and architecture that dealt with social and economic problems. They wanted to renew the idea that the apex of artwork does not revolve around "fine art", but rather emphasized that the most priceless artwork can often be discovered in the nuances of "practical art" and through portraying man and mechanization into one aesthetic program. Constructivism was first created in Russia in 1913 when the Russian sculptor Vladimir Tatlin, during his journey to Paris, discovered the works of Braque and Picasso. When Tatlin was back in Russia, he began producing sculptured out of assemblages, but he abandoned any reference to precise subjects or themes. Those works marked the appearance of Constructivism. The name Constructivism did not describe a specific movement but rather a trend within the fields of painting, sculpture and especially closely conjoined artists and their art with machine production, architecture and the applied arts.It shared similar ideals with the De Stijl Movement in the Netherlands in its attempt to remove representation, ornament , useless decoration and design for function and efficiency first and foremost. Russian Constructivism 2727 De Stijl in the Netherlands Gerhard Rietveld 28 De Stijl in the Netherlands Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colours along with black and white. Indeed, according to the Tate Gallery's online article on neoplasticism, Mondrian himself sets forth these delimitations in his essay 'Neo-Plasticism in Pictorial Art'. He writes, "... this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour." The Tate article further summarizes that this art allows "only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical line."[3] The Guggenheim Museum's online article on De Stijl summarizes these traits in similar terms: "It [De Stijl] was posited on the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colours with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines.. All reference to historicism, history and ornamentation were abandoned in favour of simplicity. Clarity, and non representational or traditional images or objects. The name De Stijl is supposedly derived from Gottfried Semper's Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik (1861–3), which Curl[2] suggests was mistakenly believed to advocate materialism and functionalism. In general, De Stijl proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. This element of the movement embodies the second meaning of stijl: “a post, jamb or support”; this is best exemplified by the construction of crossing joints, most commonly seen in carpentry. In many of the group's three-dimensional works, vertical and horizontal lines are positioned in layers or planes that do not intersect, thereby allowing each element to exist independently and unobstructed by other elements. This feature can be found in the Rietveld Schröder House and the Red and Blue Chair. De Stijl was influenced by Cubist painting as well as by the mysticism and the ideas about "ideal" geometric forms (such as the "perfect straight line") in the neoplatonic philosophy of mathematician M.H.J. Schoenmaekers. The works of De Stijl would influence the Bauhaus style and the international style of architecture as well as clothing and interior design. However, it did not follow the general guidelines of an “ism” (Cubism, Futurism, Surrealism), nor did it adhere to the principles of art schools like the Bauhaus; it was a collective project, a joint enterprise. 2929 Art and Design 3-D Futurism 30 Art aandnd DesignDesign 3-D3-D Futurism was an artistic and social movement that originated in Italy in the early 20th century. It was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre, film, fashion, textiles, literature, music, architecture and even gastronomy. The founder of Futurism and its most influential personality was the Italian writer Filippo Tommaso Marinetti. Marinetti launched the movement in his Futurist Manifesto, which he published for the first time on 5 February 1909 in La gazzetta dell'Emilia, an article then reproduced in the French daily newspaper Le Figaro on 20 February 1909. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo. Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past", he wrote, "we the young and strong Futurists!" The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passionate nationalists. They repudiated the cult of the past and all imitation, praised originality, "however daring, however violent", bore proudly "the smear of madness", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science. The futurists quickly allied themselves to the growing Fascist, ultra nationalism of Mussolini's Italy Futurism 3131 Bauhaus32 The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. The Bauhaus exploited new materials and production methods such as chrome plated steel tube, treated glass and plywood fabrication methods. They were an idealistic group who sought to combine good, efficient design together with quality craftsmanship available to ordinary working people. They were progressive and looking to the future and not the past. Despite their persecution by the Nazis, many Bauhaus principles and ideas found their way into Nazi Germanys manufacturing ethos and design. Bauhaus3333 Art and Design 3-D Art Deco 34 ArtArt aandnd DesignDesign 3-D3-D Art Deco was a popular international art design movement from 1925 until the 1940s, affecting the decorative arts such as architecture, interior design and industrial
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