View allAll Photos Tagged constructivism
Friedrich Vordemberge-Gildewar
Title: (Composition) Untitled Composition (1936),
3 color serigraph after a 1936 lithograph.
Signed by the artist's widow and numbered 14/150
Printed by Atelier Arcay, Paris and issued in the portfolio abstraction, création, art non figuratif 1932 - 1936 published by Paul Nemours, Paris, 1973,
Size: Sheet: 84.5 x 66.0 cm - (33¼ x 26 inches)
Condition: Mint
Acquired at auction from Creighton Davis Gallery, San Marcos, California in 2012
Further information: The group Abstraction Création was formed in Paris in 1931; Auguste Herbin was its president and George Vantongerloo vice president. Other members of the board of directors were Jean Arp, Albert Gleizes, Frantisek Kupka and George Valmier. Artists from all over the world were invited to join and send illustrations of their work to be included in the five yearbooks issued between 1932 and 1938 (in black and white). These books are now very rare collectors' items and the 1973 portfolio, in large format and full color shows the wide perspective of abstract art in the 1930s.
The Piet Mondrian I acquired a few years ago is from a similar portfolio.
As always, I am at www.brycehudson.com stop by, say hi ;-) I love to network with and meet other modernists and art/design enthusiasts!
If you really want to know everything about this guy and the portfolio from which it came:
30 Silkscreens and Lithographs by various early 20th century Abstract artists in a Portfolio
Title: Abstraction Creation Art Non Figuratif 1932-1936
Portfolio size: 89.5 x 74 cm / 35.2 x 29.1 in
Additional information: This is a rare and important complete portfolio that was created to celebrate the French art movement: book "Abstraction Creation Art Non Figuratif.
This portfolio includes an introduction by Margit Staber in three languages (French, English and German), a table of content and
30 Silkscreens and Lithographs in colors by various artists (as detailed below). Each one of the prints is printed on a full seperate sheet and is presented in a plastic folio.
The portfolio was printed in 1973 in a limited edition of only 150 copies (there were an additional 50 artists proofs).
The editor was Paule Nemours.
The prints were mostly printed by Atelier Arcay in Paris but some of them were printed by other printers such as Michel Casse, Paris ; Mourlot,Paris ; Hans Baurle, Stuttgart ; Michel Caza, Franconville ; Franco Sciardelli, Milano.
list of artist, titles, technique and signatures:
1. Hans Arp, Composition, Silkscreen, hand signed by Max Bill.
2. Max Bill, Construction en deux parties, Silkscreen, hand signed by Max Bill
3. Alexander Calder, Composition, Lithograph, hand signed by Alexander Calder
4. Sonia Delaunay-Terk, Rythmes-Couleurs n.816, Silkscreen, hand signed by Sonia Delaunay-Terk
5. Cesar Domela, Compostion, Lithograph and Silkscreen, hand signed by Cesar Domela
6. Hans Erni, Spirale, Silkscreen, hand signed by Hans Erni
7. Hans Fischli, Spuren auf weissem grund 3, Lithograph, hand signed by Hans Fischli
8. Frantisek Foltyn, Composition, Silkscreen, hand signed by Frantisek Foltyn
9. Jean Gorin, Composition spatio-temporelle n.36, Silkscreen, hand signed by Jean Gorin
10. Jean Helion, Equilibre, Lithograph, hand signed by Jean Helion
11. Wassily Kandinsky, Composition, Silkscreen, hand signed by Nina Kandinsky
12. Theo Kerg, Graphisme, Silkscreen, hand signed by Theo Kerg
13. Frantisek Kupka, Abstraction, Silkscreen, stamped signed and authorized by A.G. Martinel
14. Fausto Molotti, Les deux spirales, Lithograph, hand signed by Fausto Molotti
15. Laszlo Moholy-Nagy, Construction, Silkscreen, hand signed by Hattula Hug-Moholy-Nagy
16. Piet Mondrian, Composition D, Silkscreen, hand signed by Max Bill.
17. Taro Okamoto, Espace, Lithograoh, hand signed by Taro Okamoto
18. Antoine Pevsner, Naissance de l'univers, Silkscreen, hand signed by Virgiania Pevsner
19. Mauro Reggiani, Ritmo geometric, Silkscreen, hand signed by Mauro Reggiani
20. Hans Schiess, L'appel, Silkscreen, hand signed by Hans Schiess
21. Henryk Stazewski, Obraz abstrakcyjny II, Silkscreen, hand signed by Henryk Stazewski
22. Wladyslaw Strzeminski, composition, Silkscreen, stamped signed by authorized by Muzeum Sztuki
23. Sophie Tauber Arp, Forme Bleue, Silkscreen,hand signed by Max Bill
24. Theo Van Doesburg, Composition, Silkscreen, stamped signed by Nelly Van Doesburg
25. George Vantongerloo, Y=-x2+bx+c rouge vert, Silkscreen, hand signed by Max Bill
26. Luigi Veronesi, Composition, Silkscreen,hand signed by Luigi Veronesi
27. Paule Vezelay, Grey picture, Silkscreen, hand signed by Paule Vezelay
28. Jean Villeri, Composition, Lithograph, hand signed by Jean Villeri
29. Friedrich Vordemberge-Gildewart, Compostion, Silkscreen,stamped signed by Leda Vordemberge
30. Gerard Vulliamy, Composition, Lithograph, hand signed by Gerard Vulliamy
A famous photo by Boris Ignatovich, a constructivist Soviet photographer. A great photo, it was an inspiration for me to try my own hand at a similar composition. Trying to reproduce the old classic photo, you realize how much Ignatovich put into his picture when he shot it in the 1930s. For one, his photo brings out the veins in the foot, giving the Hermitage Atlantes a certain proletarian interpretation. The pic is practically saying: look what hard work it is to be the base of support for all of this fancy superstructure--the imperial state, its arts, its prestige. One can also think about his angle of view as one embodying the base in the Marxist sense of the material base and the view of the old culture as the superstructure as Marx understood it (the mindfuck for the proletariat); Ignatovich revealed to us the proletarian base of the emblem of the cultural superstructure, the Hermitage. In a way, the picture echoes Andrey Platonov: the way his proles tend to see the world: through the physical effort, sweat, and relentless labor.
But from the vantage point of the post-communist age, the foot dominating the agora may be seen as the "iron heel" of the state, the foot of the leviathan oppressing the little human figures and their environment. Bravo, Ignatovich!
One of a series of digital abstractions inspired by the Constructivist movement begun in Russia.
Constructivism was a post-First World War outgrowth of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited in 1915. The term itself would be coined by the sculptors Antoine Pevsner and Naum Gabo, who developed an industrial, angular approach to their work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. ....the theorists Alexei Gan, Boris Arvatov and Osip Brik would arrive at a definition of Constructivism as the combination of faktura: the particular material properties of the object, and tektonika, its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a first step to participation in industry: the OBMOKhU (Society of Young Artists) exhibition showed these three dimensional compositions, by Rodchenko, Stepanova, Karl Ioganson and the Stenberg Brothers. Later the definition would be extended to designs for two-dimensional works such as books or posters, with montage and factography becoming important concepts.
These works are most influenced by Vladimir Tatlin's 'tower'. en.wikipedia.org/wiki/Image:TatlinMonument3int.jpg
"The canonical work of Constructivism was Vladimir Tatlin's proposal for the Monument to the Third International (1919) which combined a machine aesthetic with dynamic components celebrating technology such as searchlights and projection screens. Gabo publicly criticized Tatlin's design saying Either create functional houses and bridges or create pure art, not both. This had already led to a major split in the Moscow group in 1920 when Gabo and Pevsner's Realistic Manifesto asserted a spiritual core for the movement. This was opposed to the utilitarian and adaptable version of Constructivism held by Tatlin and Rodchenko. Tatlin's work was immediately hailed by artists in Germany as a revolution in art: a 1920 photo shows George Grosz and John Heartfield holding a placard saying 'Art is Dead - Long Live Tatlin's Machine Art', while the designs for the tower were published in Bruno Taut's magazine Fruhlicht.
Bryce Hudson
Untitled Composition (#26)
2013
Oil and Acrylic on Arches Watercolor Board with Wood and Mixed Media Adhesive
3 Separate pieces consisting of the following:
Total Size: 12″ x 12″ x .5″ (Framed)
Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass
Signed and dated lower right in pencil.
I'm at www.brycehudson.com
I was biking home from the library still thinking about constructivism when I saw another object for my things fallen series. Bright shiny objects tend to attract my attention. I didn't have my camera with me so I picked it up and took it home to photograph it.
It's a Winchester 30-30. From Wikipedia:
The .30-30 Winchester/.30 Winchester Center Fire/7.62X51Rmm cartridge was first marketed in early 1895 for the Winchester Model 1894 lever-action rifle. The .30-30, as it is most commonly known, was America's first small-bore, sporting rifle cartridge designed for smokeless powder. The .30-30 has established itself as one of the most common deer cartridges in North America, selling more ammunition to deer hunters than any other cartridge, including the venerable .30-06 Springfield.
Before I knew that (obviously from looking it up online), I didn't know what kind of casing it was. Maybe it had come from a police officer's gun. I imagined a cop standing there on the corner or more likely crouched behind the door of her cop car, shooting at someone who, good liberal that I am, I imagined as economically disadvantaged. The thought of this police drama occurring on this street corner I pass every day on my way to the university was disconcerting.
Whatever it was I knew it came out of some kind of gun and now it had fallen here on the street at the corner of 4th Ave and 6th Street. It reminded me of another time a brightly colored object like this caught my eye. It was in Colombia. They were green plastic shotgun shells from some campesino paramilitaries. I picked them up out of the foliage near the river and took them home too. I still have them in my desk drawer, years later. Guns fire and for all the long, complicated histories of violence and oppression and death that they leave in their wake, these shells are the only tangible things that you can pick up. I rode home thinking about guns and violence and death souvenirs.
Kurt Hermann Eduard Karl Julius Schwitters was a German artist.
He worked in several genres and media, including Dada, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
After studying art at the Dresden Academy alongside Otto Dix and George Grosz, (although Schwitters seems to have been unaware of their work, Schwitters returned to Hannover and started his artistic career as a post-impressionist. As the First World War progressed, however, his work became darker, gradually developing a distinctive expressionist tone.
Expressionism was a predominantly German artistic movement best exemplified by Die Brücke, and by the paintings of Emil Nolde and Ernst Kirchner in particular. In 1918, his art was to change dramatically as a direct consequence of Germany's economic, political and military collapse at the end of the First World War.
"In the war, things were in terrible turmoil. What I had learned at the academy was of no use to me and the useful new ideas were still unready.... Everything had broken down and new things had to be made out of the fragments; and this is Merz. It was like a revolution within me, not as it was, but as it should have been".
Couverture d'une brochure sur le projet de V. E. Tatline pour un monument à la IIIè Internationale
Nikolaï Pounine (1888-1953), critique, professeur et historien de l'art, est l'auteur de cet ouvrage de référence sur Tatline.
N. Pounine est mort au goulag à l'époque des purges staliniennes, il a été le compagnon d'Anna Akhmatova, poétesse russe.
fr.wikipedia.org/wiki/Nikola%c3%af_Pounine
Document présenté dans l'exposition "Rouge. Art et utopie au pays des Soviets" au Grand Palais, Paris
Commissaire : Nicolas Liucci-Goutnikov, conservateur au MNAM, Centre G. Pompidou
www.grandpalais.fr/fr/evenement/rouge
La maquette de la tour Tatline dans l'exposition Rouge
www.flickr.com/photos/dalbera/32539337427/in/album-721576...
Autre maquette de la tour Tatline au centre Pompidou Metz (photo dalbera)
www.flickr.com/photos/dalbera/4961047799/in/album-7215762...
Autre maquette au Moderna Museet de Stockholm (photo dalbera)
www.flickr.com/photos/dalbera/494623165/in/album-72157600...
Born in 1891, Rodchenko came into artistic maturity with the Revolution. From 1918 to 1921, while rising to prominence in the new cultural bureaucracy, he pursued a highly innovative program of abstract painting and sculpture. With other artists--including his lifelong companion, Varvara Stepanova--he founded the Constructivist movement. Associating the avant-garde goal of artistic progress with the political goal of social progress, the Constructivists regarded their systematic investigations of the material and formal logic of art as essential to the creation of a Communist society.
In 1921, the driving logic of Rodchenko's theories and his ideal of social agency led him to declare the end of painting and to take up alternative mediums in the service of society. This bold stroke led him to a broad exploration of many fields of design, as well as photocollage and photography. In the 1920s, optimism and wit leavened Rodchenko's earnest fantasy of an ideal world put into order by the artist-engineer, but this fruitful paradox could not long survive in the political and cultural climate of Stalinism. Despite Rodchenko's efforts to adapt, he soon found himself at the margins of Soviet culture, and he spent much of the last two decades of his life in frustrated isolation. He died in 1956, the year that Nikita Krushchev denounced Stalin's crimes.
In the fall of 1925, using a camera he had bought in Paris, Rodchenko embarked on his first extended series of outdoor photographs--oblique views, from above and below, of his own apartment building on Miasnitskaya Street in Moscow, across the courtyard from VKhUTEMAS. Although he did not make further pictures in this vein until 1927, the series laid the cornerstone of his mature photographic aesthetic.
Rodchenko's Lef colleague Viktor Shklovsky had defined the principal aim of art as recovering the immediacy of experience by making the familiar seem unfamiliar. Many of Rodchenko's photographs achieve this simply by departing from the habit of looking--and photographing--straight ahead. He intended to encourage people to see things from fresh points of view by doing just that in his photographs. His style of oblique angles extended into photography the dynamic diagonal compositions of his early paintings. And it helped to shape a vibrant, experimental aesthetic of mobile perspectives, which flourished throughout Europe in the second half of the 1920s. Rodchenko regarded photography as mechanical and objective and therefore socially progressive, but much of his best work of this period was made independently, not on assignment, and it had no use as propaganda.
www.moma.org/interactives/exhibitions/1998/rodchenko/intr...
The Cosmos lies in the conflict between man and the individual. With this theory as backdrop, TG makes these handmade books, full of letters, arrows, signs, buildings,
Oil on canvas; 77.7 x 98 cm.
By the time László Moholy-Nagy turned towards painting after graduating from law school and developed his own abstract style influenced by Malewitsch and El Lissitzky, it was inevitable that he would become one of the most important artists of Constructivism. He soon exposed himself in Hungary as the founder of the artist group "Ma", but left his home country after the failure of the revolution.
He moved to Berlin In 1920 where Gropius noticed him and invited him to join the "Bauhaus" in 1923. There Moholy-Nagy ran the metal class but also worked in all other areas of design in which he was equally influential. The artist published his ideas in the series of Bauhaus books, for example "Malerei, Fotografie, Film" (1925). Moholy-Nagy wanted an "experimental, functional artist […] who considers art as a laboratory for new forms of expression which were then supposed to be employed in all areas of modern life" (Karin Thomas).
The expectations of the age of technology and his new media led Moholy-Nagy to a functional use of Abstraction, which he managed to show in all areas of design and which guided him through different phases of experimenting. His varied oeuvre ranges from painting, photography, film, design and stage design to experiments with photograms which considerably influenced the development of light art and kinetic art. László Moholy-Nagy left the "Bauhaus" in 1928 together with Gropius and worked in Berlin as a stage designer, exhibition organiser, typographer and film producer. He emigrated to the USA in 1937 and ran the "New Bauhaus" in Chicago. Moholy-Nagy opened his own art institute, the "School of Design", in Chicago in 1938 and enlarged it in the following years by adding the faculties economics, psychology and information theory.
László Moholy-Nagy became severely ill and died one year later, in 1946.
"Tate Modern’s Rodchenko & Popova: Defining Constructivism looks at art in Russia c.1917-25 through the work of two of the country’s leading artists. The exhibition brings together over 350 works.
After the Bolsheviks seized power in October 1917 Russia’s artists, writers and musicians were swept into the task of transforming their society into the first Communist State. Amongst others, Rodchenko and Popova pioneered a new art for this revolution. As part of the Constructivist movement they rejected ideas of illusory representation, believing instead that only the universal language of abstract form could truly put art at the service of the people. Further, for the first time a new sexual equality was born; men and women played an equal role in society and the simple pairing by the Tate of works by a man and a woman (who weren’t lovers) eloquently displays how the quality and themes of the two artists’ works were indistinguishable. This exhibition also demonstrates the way these two artists were ultimately lead away from fine art into design and from there to architecture, film, print, propaganda and advertising posters, clothing and theatre design. Among the convictions of the Constructivists was equality in all of its manifestations."
By Ilan Garibi.
Abstract origami is so close to architecture. I keep exploring this connection through Bauhaus and constructivism
Born in 1891, Rodchenko came into artistic maturity with the Revolution. From 1918 to 1921, while rising to prominence in the new cultural bureaucracy, he pursued a highly innovative program of abstract painting and sculpture. With other artists--including his lifelong companion, Varvara Stepanova--he founded the Constructivist movement. Associating the avant-garde goal of artistic progress with the political goal of social progress, the Constructivists regarded their systematic investigations of the material and formal logic of art as essential to the creation of a Communist society.
In 1921, the driving logic of Rodchenko's theories and his ideal of social agency led him to declare the end of painting and to take up alternative mediums in the service of society. This bold stroke led him to a broad exploration of many fields of design, as well as photocollage and photography. In the 1920s, optimism and wit leavened Rodchenko's earnest fantasy of an ideal world put into order by the artist-engineer, but this fruitful paradox could not long survive in the political and cultural climate of Stalinism. Despite Rodchenko's efforts to adapt, he soon found himself at the margins of Soviet culture, and he spent much of the last two decades of his life in frustrated isolation. He died in 1956, the year that Nikita Krushchev denounced Stalin's crimes.
In the fall of 1925, using a camera he had bought in Paris, Rodchenko embarked on his first extended series of outdoor photographs--oblique views, from above and below, of his own apartment building on Miasnitskaya Street in Moscow, across the courtyard from VKhUTEMAS. Although he did not make further pictures in this vein until 1927, the series laid the cornerstone of his mature photographic aesthetic.
Rodchenko's Lef colleague Viktor Shklovsky had defined the principal aim of art as recovering the immediacy of experience by making the familiar seem unfamiliar. Many of Rodchenko's photographs achieve this simply by departing from the habit of looking--and photographing--straight ahead. He intended to encourage people to see things from fresh points of view by doing just that in his photographs. His style of oblique angles extended into photography the dynamic diagonal compositions of his early paintings. And it helped to shape a vibrant, experimental aesthetic of mobile perspectives, which flourished throughout Europe in the second half of the 1920s. Rodchenko regarded photography as mechanical and objective and therefore socially progressive, but much of his best work of this period was made independently, not on assignment, and it had no use as propaganda.
www.moma.org/interactives/exhibitions/1998/rodchenko/intr...
Wallpaper 1920x1200 in homage to »El Lissitzky« created with Juan Ignacio Siwaks stunning typeface»Imperio«
Imperio is a font inspired by old posters, especially those related to constructivism and futurism. It reflects both the rationalism of Bauhaus as a propagandist and revolutionary spirit of an era.
Born in 1891, Rodchenko came into artistic maturity with the Revolution. From 1918 to 1921, while rising to prominence in the new cultural bureaucracy, he pursued a highly innovative program of abstract painting and sculpture. With other artists--including his lifelong companion, Varvara Stepanova--he founded the Constructivist movement. Associating the avant-garde goal of artistic progress with the political goal of social progress, the Constructivists regarded their systematic investigations of the material and formal logic of art as essential to the creation of a Communist society.
In 1921, the driving logic of Rodchenko's theories and his ideal of social agency led him to declare the end of painting and to take up alternative mediums in the service of society. This bold stroke led him to a broad exploration of many fields of design, as well as photocollage and photography. In the 1920s, optimism and wit leavened Rodchenko's earnest fantasy of an ideal world put into order by the artist-engineer, but this fruitful paradox could not long survive in the political and cultural climate of Stalinism. Despite Rodchenko's efforts to adapt, he soon found himself at the margins of Soviet culture, and he spent much of the last two decades of his life in frustrated isolation. He died in 1956, the year that Nikita Krushchev denounced Stalin's crimes.
In the fall of 1925, using a camera he had bought in Paris, Rodchenko embarked on his first extended series of outdoor photographs--oblique views, from above and below, of his own apartment building on Miasnitskaya Street in Moscow, across the courtyard from VKhUTEMAS. Although he did not make further pictures in this vein until 1927, the series laid the cornerstone of his mature photographic aesthetic.
Rodchenko's Lef colleague Viktor Shklovsky had defined the principal aim of art as recovering the immediacy of experience by making the familiar seem unfamiliar. Many of Rodchenko's photographs achieve this simply by departing from the habit of looking--and photographing--straight ahead. He intended to encourage people to see things from fresh points of view by doing just that in his photographs. His style of oblique angles extended into photography the dynamic diagonal compositions of his early paintings. And it helped to shape a vibrant, experimental aesthetic of mobile perspectives, which flourished throughout Europe in the second half of the 1920s. Rodchenko regarded photography as mechanical and objective and therefore socially progressive, but much of his best work of this period was made independently, not on assignment, and it had no use as propaganda.
www.moma.org/interactives/exhibitions/1998/rodchenko/intr...
Bryce Hudson
Untitled Composition (#28)
2013
Oil on Arches Watercolor Paper and Board with mixed media adhesive
3 Dimensional Construction
Total Size: 22″ x 22″ x .4″
Size (Framed): 24″ x 24″ x 1″
Framed archival – Floating with permanent hinging on white acid-free mat board – Clear Glass
Signed and dated lower right in pencil.
I'm at www.brycehudson.com - Stop by, say hi!