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In the Writers ´Congress of 1934 the only art movement allowed in the
Soviet Union was the Socialist Realism; all other artistic trends would be
considered formalist during the Stalinism. Generic characterized by the use
of geometric elements, collage, sans serif typography, simple and primary
colors. Much of Russian avant-garde manifestations are influenced by
Constructivism, as well as the Suprematism, Bauhaus and other similar
movements. Other artistic areas were also influenced; Eisenstein and its
theories about film editing changed the viewing of regular movie making. In
the theater, one of the biggest names: the stage director Meierhold.
In 1921, with the New Economic Policy of Lenin (NEP), the use of the
Constructivism was seriously questioned. Then, with the death of
Lunacharsky2, the new Stalinist Government reduced art to a politic
instrument, used for political propaganda and to promote his cultural
activities changing the Constructivism to Socialist Realism. The vanguard
was forbidden and repressed; academic standards of the nineteenth century
realism, were recovered.
2
painting and sculpture. Despite several controversies, the artistic guide-lines
and philosophies had been written in Moscow, the discussion around
philosophies and artistic projects, was opened.
On one hand, were those who believed that the artists should have an
active role serving the masses, trying to understand the needs of
proletariat, using industrial techniques and materials. This position was
represented by Tatlin, El Lissitzki and Rodchenko.
On the other hand, were those who saw non-figurative art as pure poetry,
free from any ideology , as Malevich supported by the Pevsner brothers.
This opposition comes from the very definition of constructivism that for
some is a geometric non- mimetic art permeating thus Tatlin, Malevich,
Gabo, Kandinsky, by the fact that they all use the features of geometric art.
In opposition, were those who speak of constructivism as purely
technological art, strictly subject to the imperatives of material and object,
an anticipation of Design. Apparently, Constructivism was a plural
movement: Several artists from different currents who were valuating the
construction of the artwork instead of composition.
None of the Russian artists in the period between 1917 ad 1921 were left
out of social and political events. Thus we see that the criteria were less
aesthetic than social, since art set itself the task to organize daily life, not to
decorate it, the easel painting is therefore abolished, soughing the
production of socially useful objects. Based on this assumption, the
constructivist artist believed that a new world was born, and artist should
take his place alongside the scientist and the engineer. Constructivism is a
trend line to a useful art, to interpret this “utility” note the characteristics of
constructivism: the quest for the engineering technique, new materials
being applied, the tendency for design and architecture, the preference for
collective activity opposed to individualism, the concept of objects
perceived as syntheses, pushing the limits of sculpture and painting, among
others. The Constructivist artists praised the simple geometric forms and
viewed areas of uniform pure colors; a new objectivity with new forms and
meanings. They believed that the materialistic direction of his works would
unveil the innate qualities and expressiveness of materials. To Tatlin, a
leading artist of the movement, art should serve the revolution; create
things to the people´s daily life. Painting and sculpture are also non-
representative constructions, so should be used the same materials and
technical procedures of architecture, with should be both functional and
visual. Therefore there’s no major and minor arts: as a visual form, a chair is
no different from sculpture, because sculpture should be functional as a
chair.