This paper discusses two new art movements established as part of the new communist state in the first two decades of the 20th century in Russia, Constructivism and Suprematism.
Written in 2004; 1,430 words; 6 sources; MLA; $ 47.95
Paper Summary:
This paper explains the Constructivism movement, which relied on geometric shapes and was almost mathematical, and the Suprematism movement, in which art, before all else, is spiritual. Suprematism carried much more symbolism than the Constructivist artwork, which emphasized function. The author describes the work of Alexander Rodchenko, Vladimir Tatlin, El Lissitzky, and Casimir Malevich. The paper summarizes that, despite the fact that political changes during the mid-1900s brought these abstract art movements almost to an end, the impact of these artists on Russia, Eastern Europe, and the West continues to this day. Illustrations.
From the Paper:
"Rodchenko asserted that the concept of composition was a relic, because it was mere aesthetics and related to taste and other out-of-date artistic concepts. Instead, he said, composition had to be replaced by principles of construction and organization. ?All new approaches to art arise from technology and engineering and move towards organization and construction.? Construction represented the height of hundreds of years of artistic creation. It was part of the same process that led to Communist Russia. Rodchenko also stressed that a utilitarian element was present in the idea of organization and construction. The artist's goal was not to create a work of art but rather a utilitarian product and solving technological problems. Such statements polarized the Constructivists and those who were strongly aligned with aesthetic concerns."
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