Constructing a revolution

3x puncte

categorie: Istorie

nota: 9.87

nivel: Liceu

It's basically a black square on a slightly larger white square that forms a border around it. It was hung in the exhibition in the way an icon would be hung in a peasant's home; ie top corner of the room. Malevich saw Suprematism as representing a yearning for space, an impulse to break free from the globe of the earth. It a spirit, a spirituality that went beyond anything before it.

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It's basically a black square on a slightly larger white square that forms a border around it. It was hung in the exhibition in the way an icon would be hung in a peasant's home; ie top corner of the room. Malevich saw Suprematism as representing a yearning for space, an impulse to break free from the globe of the earth. It a spirit, a spirituality that went beyond anything before it.

Among Malevich's students and contemporaries were such names as El Lissitzsky, Alexsandr Rodchenko and Vladimir Tatlin who were, of course, to lead the Constructivist movement which started in the same year as Malevich's exhibition. Tatlin had returned from studying art in Paris in 1913 where he had seen a series of relief constructions by Picasso. Tatlin became very interested in form and message rather than representation and so he himself made a series of constructions.

They were in the same vein as Picasso, but they were framed within a space and jutted out of the picture plane into the space of the observer. They created a lot of interest and he coined the term Constructivism. Tatlin and Malevich, who had been friends up until this point started to be competitors over art ideology and this continued for a long time after the Bolshevik Revolution in October, 1917.

There had been a smaller Capitalist revolution in February that year but the October Revolution completely usurped it. After the October Revolution both Tatlin and Malevich opened up art schools. Malevich's Suprematist school was similar in style but not ideology to the De Stijl movement in Holland, while the Constructivist school of Tatlin's had links to the German Bauhaus. The October revolution had been a primarily proletariat revolution and proletarians have proven to be somewhat negative in their attitude to new, radical confronting art styles and this was no exception.

Both schools realised they had to prove their worth, so to speak. The new communist government saw artists as elite. A few things transpired to change the soviet government's ideas about these artists.
Rodchenko was proud of the fact that the leftist artists had been the first to come to work with the Bolshevik comrades. There was a Constructivist manifesto released in 1922,( when Constructivism had reached its Zenith and had started ever so slowly to decline,) stating that the movement as a whole was "trying to build the intellectual material production of Communist culture". The general mood among the Avant Garde was one of completely embracing the Bolshevik ideal.
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