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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.
This captivating collection of abstract artworks, titled "Jazz Echoes in Vivid Hues," marries the distinct styles of Bauhaus and Russian Constructivism with the rhythmic soul of jazz, particularly inspired by the legendary Miles Davis. Bauhaus, an influential German art school operating from 1919 to 1933, championed a harmony between the function of an object and its design, emphasizing simplicity, geometric shapes, and a unity of art and industrial design. Russian Constructivism, emerging around 1913, was marked by an abstract, minimalistic approach, often using industrial materials, and aimed to reflect modernity and societal change. Both movements sought to redefine the role of art in the rapidly evolving modern world.
In this series, the essence of jazz – its improvisation, fluidity, and depth – is interwoven with these early 20th-century art movements. The use of vibrant colors like yellow, pink, green, and gold adds a contemporary twist, bringing a new dimension to these classic styles. Each piece echoes the improvisational nature of jazz, the structural discipline of Bauhaus, and the abstract expressionism of Russian Constructivism.
Poem:
In hues of jazz, a canvas sings,
With echoes of Miles' trumpet rings.
Bauhaus lines in bold array,
Constructivist shapes in modern play.
Yellow, pink, and shades of green,
In abstract forms, a vivid scene.
Gold touches like a subtle light,
In Davis' tones, both soft and bright.
A fusion where past and present meet,
In every stroke, the old and sweet.
Jazz and art in a dance so fine,
A visual symphony, line by line.
Haiku:
Jazz notes in colors,
Bauhaus and Constructivism,
Echoes in vivid.
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.
This amazing mosaic is crammed into some secondary exit of a center-Moscow metro stop (Park Kul'tury). It looks like Stalin, but more like a comic-book version of a young Stalin which makes it even more awesome. Commenters clarify that it's a mosaic of Maxim Gorky, of Gorky Park-fame, which is just over the Moskva from this metro stop.
by carly, grade 12
linear modular constructivism
www.scribd.com/full/13498489?access_key=key-1yjjcitnpa156...
This captivating collection of abstract artworks, titled "Jazz Echoes in Vivid Hues," marries the distinct styles of Bauhaus and Russian Constructivism with the rhythmic soul of jazz, particularly inspired by the legendary Miles Davis. Bauhaus, an influential German art school operating from 1919 to 1933, championed a harmony between the function of an object and its design, emphasizing simplicity, geometric shapes, and a unity of art and industrial design. Russian Constructivism, emerging around 1913, was marked by an abstract, minimalistic approach, often using industrial materials, and aimed to reflect modernity and societal change. Both movements sought to redefine the role of art in the rapidly evolving modern world.
In this series, the essence of jazz – its improvisation, fluidity, and depth – is interwoven with these early 20th-century art movements. The use of vibrant colors like yellow, pink, green, and gold adds a contemporary twist, bringing a new dimension to these classic styles. Each piece echoes the improvisational nature of jazz, the structural discipline of Bauhaus, and the abstract expressionism of Russian Constructivism.
Poem:
In hues of jazz, a canvas sings,
With echoes of Miles' trumpet rings.
Bauhaus lines in bold array,
Constructivist shapes in modern play.
Yellow, pink, and shades of green,
In abstract forms, a vivid scene.
Gold touches like a subtle light,
In Davis' tones, both soft and bright.
A fusion where past and present meet,
In every stroke, the old and sweet.
Jazz and art in a dance so fine,
A visual symphony, line by line.
Haiku:
Jazz notes in colors,
Bauhaus and Constructivism,
Echoes in vivid.
Projet d'illustration pour la première édition du poème de V. Maïakovski "À propos de ça"
Partie 2, chapitre "Requête adressée à ...
Oeuvre d'Alexandre Rodtchenko (1891-1956)
1923
Photographie, carton, coupures de revues, collage
Moscou, Musée d'État Maïakovski
En 1921, A. Rodtchenko a abandonné la peinture pour se consacrer aux collages, à la photographie et aux photomontages, passant d'une démarche spéculative à une démarche productiviste mieux comprise par les masses laborieuses comme le souhaitait le Parti communiste.
« L’art est mort. Cessons notre activité spéculative… Le domaine de la réalité est celui de la construction pratique. »
(A. Rodtchenko)
Oeuvre présentée 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
Part of the Lettermess Series
8"x10", Paper on Paper, 2011
Featured in the Hart House Review:
See more at www.jpking.ca
Buy prints & books at www.paperpusher.ca
A constructivist low relief piece. In this and the other similar pieces I was exploring the idea of taking forward Lucio Fontana's work where he would use a knife to make a slash in a canvas. I recently saw one of these pieces close up and found that he placed a piece of black canvas behind the slash. My idea was not to simply cut the canvas but to remove strips which could be manipulated and rolled up. In this piece, the strips of canvas are wrapped around a pole which is fixed to the canvas with silver nails.
Andreu Alfaro. Rueda helicoidal constructivista y dinámica que ofrece múltiples perspectivas. De 1973..
Andreu Alfaro Hernández nació en Valencia en 1929. Artista autodidacta, era hijo de un carnicero.
Relacionado con el Grupo Parpalló (1957) e influido por los constructivistas, como Constantin Brâncuşi o Antoine Pevsner, y por Jorge Oteiza. Sus obras, expuestas en la Bienal de Venecia del 1966 My Black Brother, lograron un eco internacional.
A finales de la década de 1960 experimentó profusamente con elementos metálicos, tales como el acero y el aluminio. En 1980 experimentó con el alambre y el mármol. El mismo año recibió el Premi d’Honor Jaume I y en 1981 el Premio Nacional de Artes Plásticas. En 1991 la diputación de Valencia le concedió el Premio Alfons Roig d’Arts Plástiques.
Existen obras de Andreu Alfaro en museos de todo el mundo y en las vías públicas de muchas localidades, particularmente en España. Sus obras más importantes fueron La rella (1961), La veu d'un poble (1964-1965), Monument a l’amor (1965-1967), Bon dia llibertat (1975) y Catalan power (1976).
Sea Comb My latest work from the Into The Deep group in my Artibles series. See other images in my profile or on my website. #artibles #intothedeep #artforsale #artprint #constructivism #abstractart #modernart #kineticart #opart #art #artprints #artoftheday #contemporaryart #abstraction #abstractart #wallart #digitalart #fineart #geometric #geometricart #colorful #nycart #petersealystudio #petersealy #newyorkartist
Part of the Lettermess Series
8"x10", Paper on Paper, 2011
Featured in the Hart House Review:
See more at www.jpking.ca
Buy prints & books at www.paperpusher.ca
The title refers to the anonymous owner of the two tools that comprise the main elements of this piece. They belonged to a man who worked on the bodies of Harrier jump jets. Wood, brass and tufnol
In 1921, Russian artist and designer Lazar Lissitzky moved to Berlin, bringing Constructivism and Suprematism to Europe.
Image: 1921 Wendingen cover lithograph after a drawing by Lissitzky.
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