Saturday, March 26, 16

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Lily Osborne
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2 Filippo Marinetti lectured in Russia. Russian artists absorbed cubism and futurism and quickly added innovative directions of their own.

3 Ilya Zdanevich insert cover for Milliork by Aleksei Kruchenykh 1919

4 Ilja Zdanevich, pages from Le-Dantyu as a Beacon, 1923

5 David and Vladimir Burliuk, pages from Vladimir Mayakovsky: A Tragedy, 1914

6 Kasimir Malevich Black Square 1913

7 Kasimir Malevich, Suprematist Composition, 1915 Kasimir Malevich, First Circle of Lectures, by Nikolai Punin, 1920

8 By 1920 a philosophical split had formed within the art and design community. Some artists, including Malevich and Kandinsky argued that art MUST remain a spiritual activity separate from the needs of society. They wanted nothing to do with a political agenda.

9 Vladimir Tatlin and Alexander Rodchenko led a group of artists who supported the opposing viewpoint. They condemned ART FOR ART S SAKE to devote themselves to industrial design, visual communication and applied arts serving the new communist society.

11 The Constructivist ideal was shown through the work of El Lissitzky

12 El Lissitzky, PROUN 23, no. 6, 1919 El Lissitzky, Beat the Whites with the Red Wedge, 1919

13 El Lissitzky, cover art for Veshch, El Lissitzky, title page for Veshch, 1922

14 El Lissitzky layout for a cover of Broom, vol

15 El Lissitzky, ad for Pelikan carbon paper, 1924 El Lissitzky, poster for Pelikan ink, 1924

16 El Lissitzky cover of For The Voice by Mayakovsky 1923

17 El Lissitzky, pages from For the Voice, 1923 Beat your drums on the squares of the riots, turned red with the blood of revolution

18 El Lissitzky, pages from For the Voice, Order for the Army of the Arts

19 El Lissitzky book cover for The Isms of Art 1924

20 El Lissitzky, text format for The Isms of Art, 1924

21 El Lissitzky title page for The Isms of Art 1924

22 El Lissitzky, pictorial spread from The Isms of Art, 1924

23 El Lissitzky cover of Notes of a Poet by Ilia Selvinskii 1928

24 El Lissitzky exhibition poster 1929

25 El Lissitzky, exhibition design for Pressa, 1928

26 Typographer Jan Tschichold would later write: Lissitzky was one of the great pioneers... his influence was widespread and enduring... a generation that has never heard of him stands upon his shoulders.

27 Alexander Rodchenko, covers for Lef no. 1, 2 &3

28 Alexander Rodchenko poster, 1937 (The podium is a newspaper proclaiming, Peace! Bread! Land! )

30 Alexander Rodchenko paperback book covers 1924

32 Color was used as an important structural element. Red was favored because of its visual power AND because of its association with revolution.

33 Salomon Telingater cover for The World Belongs to Kirsanov 1930

34 Georgy and Vladimir Augustovich Stenberg film poster, undated

35 G. & V. Augustovich Stenberg, The 11th Year of the Revolution poster, 1928 G. & V. Augustovich Stenberg, The General poster, 1929

36 Gustav Klutsis Spartakiada postcard 1928 His work is often compared to that of John Heartfield.

37 Gustav Klutsis, We Will Repay the Coal Debt to the Country poster, 1930 Gustav Klutsis, Everyone Must Vote in the Election of Soviets poster, 1930 Gustav Klutsis, Building Socialism Under the Banner of Lenin poster, 1931

38 Vladimir Vasilevich Lebedev, page from the book, The Adventures of the Scarecrow, 1922

39 Vladimir Vasilevich Lebedev page spread from the book, The Adventures of the Scarecrow, 1922

40 Vladimir Vasilevich Lebedev from the book, Circus 1928

41 Vladimir Vasilevich Ledebev, page spread, Circus, 1928

42 Launched in the Netherlands in the summer of 1917, Théo van Doesburg is considered the founder and guiding spirit of the De Stijl movement.

43 Piet Mondrian Composition with Red, Yellow and Blue 1922

44 Théo van Doesburg and Laszlo Moholy-Nagy book cover 1925

45 Vilmos Huszar, cover and title page designs for De Stijl,

46 Théo van Doesburg, cover and ad designs for De Stijl,

47 Piet Mondrian and van Doesburg had a parting of the ways in 1924 when van Doesburg declared the diagonal to be a more dynamic compositional principle than horizontal and vertical construction. Mondrian believed in purely vertical and horizontal composition

48 Théo van Doesburg, exhibition poster, 1920 Théo van Doesburg and Kurt Schwitters Kleine Dada Soirée poster, 1920

49 Théo van Doesburg, dadaist poetry from De Stijl, 1921

50 El Lissitzky, cover and page from De Stijl, 1922

51 The Schroeder House, Utrecht, 1924

52 Laszlo Moholy-Nagy, cover and page spread designs for i10, 1927

Filippo Marinetti lectured in Russia. Russian artists absorbed cubism and futurism and quickly added innovative directions of their own.

Filippo Marinetti lectured in Russia. Russian artists absorbed cubism and futurism and quickly added innovative directions of their own. David and Vladimir Burliuk, pages from Vladimir Mayakovsky: A Tragedy,