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$C:\Users\Kai\Documents\CMU Teaching\Modern\Handouts$ Arch. 48-340 -- Modern Architecture, Fall 2011 Prof. Gutschow, Class #19 REVOLUTIONARY RUSSIA: DESIGNING A NEW SOCIETY Russian Historicism, Tradition & Modernity Russian Revolution - 1905: strikes and violent anti-government protests against Tsar Nicholas II Russian surrender to Germany in WWI (1915) Russian Revolution - Feb. 1917:Czar abdicates - Oct. 1917: Bolsheviks seize power 1) Suprematism / Elementarism / Rationalism -- More utopian, spiritual, often mystical, abstract -- Includes K. Malevich, N. Ladovsky, Vkhutemas School, Malevich's UNOVIS School (School of New Art), ASNOVA (Assoc. of New Architects) architects K. Melnikov, Golosov 0.10 Exhibit, Petrograd, 1915, with Malevich’s “Black Square” K. Malevich, "Suprematist Composition, White on White," 1918 Vkhutemas School, Moscow * El Lissitzky, Pro-un (Pro-Unovis): "Town", 1919; "Pro-un Space", Berlin,1923 * K. Malevich, "Arkhitekton," 1923ff 2) Constructivism / Productivism: -- Utilitarian, Agit-prop, revolutionary, materialistic, engineering & construction. Sought a communitarian socialist art. -- Includes: Rodchenko, Tatlin, M. Ginsburg, Popova, OSA (Assoc. of Contemporary Architects) includes Ginzburg, Vesnin, Barshch AgitProp Trains, 1919-21 * El Lissitzky, Lenin's Tribune, 1920 Simbirchev, “Proj. for Restaurant on Cliff," N.A. Ladovsky Studio, Vkhutemas School, 1922 * V. Tatlin, Monument to the 3rd International, 1920 Competition Entry for Palace of Labor, Vesnin Brothers, Moscow, 1922 Proj. for Pravda Newspaper Building, Vesnin Brothers, Moscow, 1924 Executed Projects Designs for clothing, kiosks, fabrics, etc. by Rodchenko, Stepanova, Klutis, etc. * Soviet Pavilion at Expo. des Art Décoratifs, K. Melnikov, Paris, 1925 Interior, Worker Club, Rodchenko * Rusakov (=Tram) Worker's Club, K. Melnikov, Moscow, 1927 Zuyev Worker's Club, I. Golosov, Moscow, 1928 K. Melnikov House, Moscow, 1929 Chernikov, Architectural Fantasies, 1930 * = Most important images of lecture, to be memorized for the midterms and future .

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Read Book Kazimir Malevich
KAZIMIR MALEVICH PDF, EPUB, EBOOK Achim Borchardt-Hume | 264 pages | 21 Apr 2015 | TATE PUBLISHING | 9781849761468 | English | London, United Kingdom Kazimir Malevich PDF Book From the beginning of the s, modern art was falling out of favor with the new government of Joseph Stalin. Red Cavalry Riding. Articles from Britannica Encyclopedias for elementary and high school students. The movement did have a handful of supporters amongst the Russian avant garde but it was dwarfed by its sibling constructivism whose manifesto harmonized better with the ideological sentiments of the revolutionary communist government during the early days of Soviet Union. What's more, as the writers and abstract pundits were occupied with what constituted writing, Malevich came to be interested by the quest for workmanship's barest basics. Black Square. Woman Torso. The painting's quality has degraded considerably since it was drawn. Guggenheim —an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from May All articles with unsourced statements Articles with unsourced statements from June Lyubov Popova - You might like Left Right. Harvard doctoral candidate Julia Bekman Chadaga writes: "In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception Retrieved 6 July A white cube decorated with a black square was placed on his tomb. It was one of the most radical improvements in dynamic workmanship. Landscape with a White House.
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Art 150: Introduction to the Visual Arts David Mccarthy Rhodes College, Spring 2003 414 Clough, Ext
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Kazimir Malevich Was a Russian Artist of Ukrainian Birth, Whose Career Coincided with the Bolshevik Revolution of 1917 and Its Social and Cultural Aftermath
QUICK VIEW: Synopsis Kazimir Malevich was a Russian artist of Ukrainian birth, whose career coincided with the Bolshevik Revolution of 1917 and its social and cultural aftermath. Malevich was the founder of the artistic and philosophical school of Suprematism, and his ideas about forms and meaning in art would eventually form the theoretical underpinnings of non- objective, or abstract, art making. Malevich worked in a variety of styles, but his most important and famous works concentrated on the exploration of pure geometric forms (squares, triangles, and circles) and their relationships to each other and within the pictorial space. Because of his contacts in the West, Malevich was able to transmit his ideas about painting to his fellow artists in Europe and the U.S., thus profoundly influencing the evolution of non-representational art in both the Eastern and Western traditions. Key Ideas • Malevich worked in a variety of styles, from Impressionism to Cubo-Futurism, arriving eventually at Suprematism - his own unique philosophy of painting and art perception. • Malevich was a prolific writer. His treatises on philosophy of art address a broad spectrum of theoretical problems and laid the conceptual basis for non-objective art both in Europe and the United States. • Malevich conceived of an independent comprehensive abstract art practice before its definitive emergence in the United States. His stress on the independence of geometric form influenced many generations of abstract artists in the West, especially Ad Reinhardt. © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org DETAILED VIEW: Childhood Malevich was born in Ukraine to parents of Polish origin, who moved continuously within the Russian Empire in search of work.
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Challenging Tradition
CHALLENGING TRADITION: BAUHAUS, DE STIJL, and RUSSIAN CONSTRUCTIVISM (Kandinsky, Mondrian, Breuer, Tatlin, and Stepanova) WASSILY KANDINSKY Online Links: Wassily Kandinsky - Wikipedia, the free encyclopedia Der Blaue Reiter - Wikipedia, the free encyclopedia Quotes from Wassily Kandinsky http://www.smarthistory.org/Kandinsky-CompositionVII.html Theosophy - Wikipedia, the free encyclopedia Arnold Schoenberg - Wikipedia, the free encyclopedia Helen Mirren on Kandinsky – YouTube Kandinsky Drawing 1926 – YouTube Schonberg and Kandinsky - YouTube FRANZ MARC Online Links: Franz Marc - Wikipedia, the free encyclopedia Meditation on Blue Horses by Franz Marc - YouTube PIET MONDRIAN Online Links: Piet Mondrian - Wikipedia, the free encyclopedia De Stijl - Wikipedia, the free encyclopedia http://www.smarthistory.org/de-stijl- mondrian.html Gerrit Rietveld - Wikipedia, the free encyclopedia Theo van Doesburg - Wikipedia, the free encyclopedia Bauhaus Online Links: Accommodation inside the Studio Building at Bauhaus Bauhaus - Unesco Site Bauhaus – Wikipedia Bauhaus: Design in a Nutshell Architecture - Dessau Bauhaus - YouTube KAZIMIR MALEVICH Online Links: Kazimir Malevich - Wikipedia, the free encyclopedia Suprematism - Wikipedia, the free encyclopedia Tabula rasa - Wikipedia, the free encyclopedia Plays: Victory over the Sun, Introduction and Costume Design Victory over the Sun - Wikipedia, the free encyclopedia Malevich's White on White compared with Monet - Smarthistory VLADIMIR TATLIN and the RUSSIAN CONSTRUCTIVISTS Online Links: Vladimir Tatlin - Wikipedia, the free encyclopedia Constructivism (art) - Wikipedia, the free encyclopedia Tatlin's Tower - Wikipedia, the free encyclopedia Naum Gabo - Wikipedia, the free encyclopedia Stepanova's Results from the First Five Year Plan Rodchenko - Spatial Construction No. 12 (with video) – MOMA Rodchenko's Lines of Force - Tate Modern Vassily Kandinsky. Picture with an Archer, 1909 The Russian artist Vassily Kandinsky (1866-1944) was among the first to eliminate recognizable objects from his paintings.
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Avant-Garde Russe
Ill A* z c* Translated by Jacques Gourgue and Shobha Raghuram Published in the United States of America in 1986 by Universe Books 381 Park Avenue South, New York, N.Y. 10016 © 1986 by Fernand Hazan, Pans All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publishers. 86 87 88 89 90 / 10 9 8 7 6 5 4 3 2 1 Printed in France Library of Congress Cataloging in Publication Data Nakov, Andrei Avant-garde russe. Translation of: L' avant-garde russe. Bibliography: p. 1. Suprematism in art. 2. Art, Russian. 3. Avant-garde (Aesthetics)— Soviet Union—History— 20th century. I. Title. N6988.5.S9N3313 1986 709'. 47 85-21010 ISBN 0-87663-884-1 Andrei Nakov AVANT-GARDE RUSSE UNIVERSE BOOKS NewYorH^^^ FOREWORD The term "avant-garde" being easily misleading, it appears to me necessary to specify the limits of the subject-matter. The richness of the artistic explosion that Russia experienced between 1896 and 1932 does not permit here the treatment of the subject in its entire range. Hence, I limited myself to explore only the evolution of plastic arts from the emergence of non-objective art in 1915 up to the end of 1921 when ideology and theoretical reflection assume the consequences in apparently opposed, but in fact dialectically interdependent directions. The advent of non- objective art had been preceded by a glorious symbolist period as well as by an extraordinary cubo-futurist flowering which could by itself constitute the subject of another book.
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SYNOPSIS: Suprematism, the invention of Russian artist Kazimir Malevich, was one of the earliest and most radical developments in abstract art. Its name derived from Malevich's belief that Suprematist art would be superior to all the art of the past, and that it would lead to the "supremacy of pure feeling or perception in the pictorial arts." Heavily influenced by avant-garde poets, and an emerging movement in literary criticism, Malevich derived his interest in flouting the rules of language, in defying reason. He believed that there were only delicate links between words or signs and the objects they denote, and from this he saw the possibilities for a totally abstract art. And just as the poets and literary critics were interested in what constituted literature, Malevich came to be intrigued by the search for art's barest essentials. It was a radical and experimental project which at times came close to a strange mysticism. Although the Communist authorities later attacked the movement, its influence was pervasive in Russia in the early 1920s, and it was important in shaping Constructivism, just as it has been in inspiring abstract art to this day. Key Ideas / Information • The Suprematists' interest in abstraction was fired by a search for the 'zero degree' of painting, the point beyond which the medium could not go without ceasing to be art. This encouraged the use of very simple motifs, since they best articulated the shape and flat surface of the canvases on which they were painted. (Ultimately, the square, circle, and cross became the group's favorite motifs.) It also encouraged many Suprematists to emphasize the surface texture of the paint on canvas, this texture being another essential quality of the medium of painting.
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Patricia Railing, Report: Malevich's Suprematist
REPORT MALEVICH’S SUPREMATIST PALETTE – “Colour is Light” Zinc whites Vermilion Cadmium and chrome yellows Emerald green Cobalt blue Ultramarine Carbon blacks 47 The subject matter (what is seen) and the content (the N. Rood in particular, whose studies had been translated into idea) of Kazimir Malevich’s Suprematist painting Russian by the end of the 19th century. between 1915 and early 1919 is light. As he himself said, “Colour Although Maxwell was famous primarily for his Treatise is light”.1 When one looks at a Suprematist painting one is entering on Electromagnetism, his colour theories were widely known a world of light. IRUWZRVLJQL¿FDQWUHDVRQV)LUVWO\LQWKHV0D[ZHOOKDG The artist’s fascination with light in his Suprematist EHHQDEOHWRFRQ¿UPWKHWKUHHOLJKWSULPDULHVE\H[SHULPHQW4 canvases of 1915 and into 1916 was inspired by the experience Secondly, Maxwell had discovered the pigments that are of colours seen in pure optical phenomena. Later in 1916 and parallel to the main saturated colours in the spectrum so that over 1917 and into 1918 Malevich was capturing colours and the painter’s art would be more faithful to nature’s world of structures determined by the centrifugal forces of spinning discs. objects and light.5 Also from 1917 to early 1919 he turned to the use of projectors Ogden Rood developed by experiment Maxwell’s work and was composing with beams of light. At the same Malevich and his 1879 Modern Chromatics – Students’ Text-Book of Color was exploring ways of integrating the different systems of optical with Applications to Art and Industry became the source for the phenomena, rotation and raying light in canvases that he called new creative ideas of the French Neo-Impressionists with colour “new Suprematist constructions” in his 15 June 1918, “Second and light, Rood’s book published in French translation in 1881.
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Suprematist Architecture: a Plane Drawing Architectural History Thesis on Suprematist Architecture by Kazimir Malevich
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Azu Etd Mr20090029 Sip1 M.Pdf
Contextualizing the Russian avant- garde: the rise of the Soviet Union and its impact on suprematism and constructivism Item Type text; Electronic Thesis Authors Bootes, Christine Diane Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 11:34:18 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/192267 i ABSTRACT This thesis concentrates chiefly on two Russian Avant-garde movements, Suprematism and Constructivism. These movements occurred alongside a pivotal period of Russian history: the overthrow of the Tsars in 1917, leading to the creation of a Soviet State by 1922. This thesis examines the context in which these movements occurred, specifically with regard to how the rise of Communism and the evolution of the Soviet State affected the production of art, cultural institutions of art, artists, and the concept of the artist itself. ii TABLE OF CONTENTS Abstract …………………………………………………………………………...………ii Table of Contents…………………………………………………………..……...…...…iii I. Introduction …………………………………………………………………...…..……1 II. Historical Background…………………………………………………………………4 III. Suprematism…………………………………………………………….………….…9 IV. Constructivism………………………………………………………..…………...…23 Monuments………………………………………………………………..……...28 Two-Dimensional Public Art…………………………...………………………..32 Publications………………………...…………………………………...…….…37 V. Conclusion………………………………………………………………...…...…..…44 VI. Bibliography……………………………………………………………………....…48 CONTEXTUALIZING THE RUSSIAN AVANT-GARDE: THE RISE OF THE SOVIET UNION AND ITS IMPACT ON SUPREMATISM AND CONSTRUCTIVISM 1 INTRODUCTION Art organizes social experiences by means of living images with regard both to cognition and to feelings and aspirations.
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Celebrating Suprematism: New Approaches to the Art of Kazimir
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