Chapter 15: A New Language of Form

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1 Chapter 15: A New Language of Form

2 Russia Constructivism( ) Committed to complete abstraction with a devotion to modernity Themes are often geometric, experimental and rarely emotional. Constructivist themes are also quite minimal, where the artwork is broken down to its most basic elements. In 1917 the group turned their energies to massive propaganda but by 1920 a deep ideological split developed. Kandinsky and Malevich took the direction of the artist as a spiritual activity separated from the needs of society. They reject the social or political role

3 Suprematism and Constructivism David and Vladimir Burliuk, A Tragedy, 1914.

4 Suprematism and Constructivism Ilja Zdanevich, pages from Le-Dantyu as a Beacon, 1923.

5 Suprematism and Constructivism Symbolically, what were the Russian futurists books reacting against and why? What materials did they use to reflect their beliefs?

Suprematism Kasimir Malevich, Black Square(1913) A new vision for visual art is as far removed as possible from the world of natural forms and appearances What

6 Suprematism Kasimir Malevich, Black Square(1913) A new vision for visual art is as far removed as possible from the world of natural forms and appearances What are the characteristics of Suprematism? He sought the supreme expression of feeling, seeking no practical values, no ideas, no promised land. Black Square, c

7 Suprematism Kasimir Malevich, Suprematist Composition A symphonic arrangement of elemental shapes of luminous color on a white field becomes an expression of pure feeling. What role did art, in general, play in the Russian Revolution? Suprematist Composition, 1915.

The mathematical and structural principles of architecture

8 Constructivism: El Lissitzky What are the general characteristics of Constructivism? The mathematical and structural principles of architecture became bases for Lissitzky s art. El Lissitzky, PROUN 23, no. 6, 1919 Beat the Whites with the Red Wedge, 1919.

9 Constructivism: El Lissitzky Beat the Whites with the Red Wedge, The Bolshevik army emblem, a red wedge, slashes diagonally into a white sphere signifying A. F. Kerensky s white forces. The slogan s four words are placed to reinforce the dynamic movement.

10 Constructivism: El Lissitzky Veshch, was a trilingual Russian journal, which Lissitzky worked on with editor Ilya Ehrenburg. Showed new ideas and printing innovations including photomontage The Soviet government offering encouragement by sponsoring a Russian art publication: Veshch. The title reads Object: chosen because the editors believed that art meant creation of new objects, a new collective international approach to art and design. Cover for Veshch, 1922 This cover is the 3rd issue but it's design is similar to the first issue.

Chapter 15 Cover art for Veshch 3 (1921-1922) El Lissitzky Mechanical drawing instruments

11 Chapter 15 Cover art for Veshch 3 ( ) El Lissitzky Mechanical drawing instruments were used to construct geometric letterforms in a different style for each title, small typeset type was pasted in for plating. It shows how Lissitzky constructed his designs on a dynamic diagonal axis with asymmetrical balancing of elements. The weight is placed high on the page.

12 In this page of Veshch (1922), Lissitzky searched for a geometric system for treating type, geometric elements, and the photographs as a whole. These goals were not full achieved till later in Inside page for Veshch, Isometric perspective letterforms are upside down and backward in the second title presentation, achieving a subtle vitality in a rigorously symmetrical design. layout for a Broom cover, vol. 5, no. 3, 1922

13 The Isms of Art, 1924 Complex typographic information is organized into a cohesive whole by the construction of structural relationships. One of the most influential graphic designs of the 1920's Book cover for the isms of art, 1924

The Isms of Art, 1924 Title page for the isms of art, 1924.

14 The Isms of Art, 1924 Title page for the isms of art, The graphic spirit achieved by medium-weight sansserif type, mathematical division of the space, white areas, and bold rules established a typographic standard for the modern movement.

15 The Isms of Art, 1924 The grid system of the preceding typographic pages are echoed in the placement of the images, which are one, two, and three columns wide. Pictorial spread from The Isms of Art (1924) El Lissitzky

16 The Isms of Art, 1924 Vertical lines separate German, French, and English texts, and horizontal bars emphasize an important introductory quotation. Text format for the isms of art, 1924

17 The Isms of Art (Reprint 1990) edited by Hans Arp and El Lissitzky

18 The Isms of Art, 1924 Why was this book an important milestone in the organization of visual information?

19 Constructivism: El Lissitzky In this stark, powerful image, the youth of a collective society are cloned into an anonymous double-portrait above the exhibition structure designed by Lissitzky. Russian Exhibition poster (1929)

20 Constructivism: El Lissitzky Light, sound, and motion become design elements. Belts symbolic of web printing are in continuous movement in this publishingindustry design. El Lissitzky, exhibition design for Pressa, 1928

21 Constructivism: El Lissitzky Lissitzky s letterhead was also a constructivist statement. El Lissitzky, letter to Katherine Dreier, 1926

22 Constructivism: Alexander Rodchenko In 1923, Rodchenko began to design a magazine for all the creative arts called Novyi lef ( Left Front of the Arts). He experimented with overprinting, typography, and photomontage as he sought to innovate an illustration technique appropriate for the twentieth century. Paperback book covers for the jim dollar series, 1924 Some of the techniques he explored coincided with developments in cinema, such as simultaneous action, superimposing images, extreme close-ups, and rhythmically repeating an image.

23 Constructivism: Alexander Rodchenko What are the graphic characteristics you see displayed in these covers for Novyi Lef? Alexander Rodchenko, cover for Novyi lef no. 1, 2, and 3, 1923

24 Constructivism: Alexander Rodchenko Paperback book covers for the jim dollar series, 1924 Consistency is achieved through standardized format; montages illustrate each story.

Constructivism: Gustav Klutsis Why do you think

Coal Debt to the Country, poster, 1930 Everyone

25 Constructivism: Gustav Klutsis Why do you think Klutsis referred to the medium of photo montage as the art construction for socialism? Spartakiada postcard, 1928 We Will Repay the Coal Debt to the Country, poster, 1930 Everyone Must Vote in the Election of Soviets series, poster, 1930

26 Constructivism: Vladimir Lebedev Vladimir Vasilevich Lebedev, book cover, Tsirk (Circus), 1928.

27 Constructivism: Vladimir Lebedev Vladimir Vasilevich Lebedev, book spread, Tsirk (Circus), 1928

28 Constructivism: Vladimir Lebedev What graphic formula do you see applied in the artwork of Lebedev? Vladimir Vasilevich Lebedev, book spread, Tsirk (Circus), 1928

29 De Stijl (The Style) 1917 Theo van Doesburg They worked in an abstract geometric style to seek laws of equilibrium and harmony for art, which could then be a prototype for a new social order. Piet Mondrian, oil on canvas, Composition with Red, Yellow, and Blue, 1927

31 De Stijl (The Style) Book cover for Basic Concept of Form Making Théo van Doesburg and Laszlo Moholy- Nagy, book cover, 1925 What is the theory behind the artwork of De Stijl?

32 De Stijl (The Style) Theo van Doesburg and Vilmos Huszár title pages for De Stijl

33 De Stijl (The Style) Theo van Doesburg and Vilmos Huszár This magazine advocated the absorption of pure art by applied art if this was achieved, then what would happen? title pages for De Stijl

34 De Stijl (The Style) Gerrit Rietveld model for the Schroeder House

35 The Spread of Constructivism During WWI, Russian suprematism and the Dutch DeStjil movements were completely isolated from one another. The influence of the Netherlands and Russia remained a major force for the visual disciplines throughout the twentieth century. Among the greatest influences on graphic design were the use of geometric construction in organizing the printed page and the incorporation of pure shape as a design element.

36 The Spread of Constructivism Henryk Berlewi, exhibition poster, 1925 Henryk Berlewi, Plutos Chocolates brochure, page 6, 1925

37 The Spread of Constructivism What does Mechanofaktura mean? Henryk Berlewi, exhibition poster, 1925 What did Henryk Berlewi hope commercial art could facilitate?

38 The Spread of Constructivism Ladislav Sutnar His style was organized and simple with typographic clarity. cover design for Getting Married, 1929

39 The Spread of Constructivism Ladislav Sutnar Sutnar uses photomontage and directional text to create strong composition. Cover design for Samuel the Seeker, 1931

40 The Spread of Constructivism Ladislav Sutnar His style was organized and simple with typographic clarity. Cover of Minimum Housing, 1931

41 Figure 15-2

42 Figure 15-4

43 Influences Poster for CBS records(1979) Paula scher Advertisement for Saks Fifth Avenue (2009) Shepard Fairey

44 Influences Say Yes! (2008) Shepard Fairey Saks Fifth Avenue, Spring 09 shopping bags (2009) Shepard Fairey Inspired by a song of the same name by a band called the Afternoons. This poster was seen on the streets of LA shortly after the Obama posters.

45 Conclusion The quest for the pure art of visual relationships that began in Russia and in Holland continues to influence today. The unity of human and social values, technology and visual form was a goal for these artists who looked to create a new architecture and graphic design.

Saturday, March 26, 16

Saturday, March 26, 16 Filippo Marinetti lectured in Russia. Russian artists absorbed cubism and futurism and quickly added innovative directions of their own. Ilya Zdanevich insert cover for Milliork by Aleksei Kruchenykh 1919