Constructivism in the Soviet poster
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The domestic poster in the early 1920s rapidly gained the original on the face, allocated him among the poster art of Western European countries. Compositional experiments with text blocks, fonts, color, geometric figures photographic images led artists to creating a new design poster. He not only informed, enlightened and agitated, but also "revolutionary rebuilding" consciousness of citizens with artistic means free from the excesses of traditional descriptions and illustrative. The language of such a poster was akin to the language of architectural and book experiments, literary and theatrical innovations, cinematographic installation of those years.
The first poster of the "new design has become the advertisement of the Society" Dobrole ", performed by A. Rachenko in 1923 in several color versions. Further close cooperation of the "advertiser"s advertiser" A. Rodchenko and Poet V. Mayakovsky laid the beginning of the implementation of revolutionary artistic ideas in the poster. It was the Soviet advertising of 1923-1925, created by the efforts of these masters, was the forerunner of the political poster of constructivism. Yes, and the authors themselves constantly emphasized the agitation and political significance of their advertising work, called upon all the goods "Mosselprom" goods, hurry for fashionable purchases in GUM, suck the nipples and wear the galoshes "rubberrest" (1923) The fascination of A. Rodchenko creative photomontage, documentary and staged photography allowed the master to perform the discoverer of a new poster form. The vertex of the concise embodiment of the advertising idea was the "Lengiz" A. Rodchenko with a photoportist L. Brick (1925) Advertising film blocks of contemporaries A. Rodchenko: A. Lavinsky for the film S. Eisenstein "Potemkin"s armadioles" (1926), V. and the city of Stenbigov to Dzigi Vertova" Eleventh"s documentary (1928) and S. Semenova Menes to the film,
B. Turkey "TURTSIB" (1929).
The poster was a field for a variety of creative experiments. Advertising poster S. Senkin "I read the" crocodile "(1925) united photos of the photo and a concise slogan of the Poster" Advertising in the tram "Leningradz D. Bulanov demonstrated the agitoscope for millions of inhabitants of the Socialist City (1927) In the Lottery Poster, M. Dlugach made a political symbol of the country, an image of "Sickle and hammer", mounted from photographs, creating a background for invasively raised young men"s hands (1930).
1924-1925 You can rightly consider the birth time of the constructivist political poster. Photomontage made it possible to transfer the picture of real life, to compare the past and real countries, show its successes in the development of industry, culture and social field. Agitational and educational posters who combined documentary photos with text inserts" illustrated Lenin"s biography pages and his covenants. Photomontal posters have become visual teaching benefits on the history of the world revolutionary and trade union movement. A. Rodchenko worked on them. L. Lisitsky, Kloths, L. Naumova, A. Lavinsky, Ya. Guminer and a number of other artists. In 1927, the artists of the city of Clots and
C. Senkin (Klotsis "without revolutionary theory can not be revolutionary movement").
A photomontructural poster was finally established as the main means of mobilizing masses during the first five-year plan (1928 / 29-1932) He demonstrated the power of the developing power, which was supported by the unity of the people. An outstanding sample was the poster of the city of Klotsis "fulfill the plan of great works" (1930) Special sound gave him "Street" format in two printed sheets. The raised hand of workers on the poster of V. Kulagin symbolized a call for women-shock five-year plan to replenish the ranks of the Communist Party (1932) In1930, the city of Kloths began to search for a composite solution of posters with a photo portrait of Stalin. For the first time, the face of the leader "fired" through the portrait of Lenin in the poster "under the banner of Lenin for socialist construction" (1930) The artist puts Stalin to the right-to-five-year-old drummers ("Our program"s reality is living people ...", 1931) V. Elkin has created a collective portrait of the country"s leadership and deployed on a poster "Long live, the Red Army is an armed detachment of the proletarian revolution! The grandiose picture of the festive parade on Red Square (1932) In the early 1930s, V. Koretsky and V. Gutseich were replenished the ranks of the followers of constructivist artists. They developed a poster shape in which the photos were toned and combined with the drawing image. The poster of V. Gutseich is standing out. For the proletarian park of culture and recreation "(1932) and the list of V. Koretsky" Soviet physical cultures - the pride of our country! " (1935), bright and concisely reflected the most important ideological installations of those years, it should be noted that in the photo mounted poster of the mid-1930s, Kloths, V. Elkin, S. Senkin, V. Koretsky and other artists abandoned the constructivist experiment with fonts and text Blocks, focusing on the image. Poster slogans occupied the place mainly at the bottom of the sheet (r club "and live our happy socialist homeland ...", 1935) Keeping originality and stand out on the overall background of the world poster, as evidenced by his successes at international exhibitions, the photomontal political poster has lost its former domination on the streets of our country"s cities. The huge propaganda experience of constructivist artists turned out to be in demand only when creating pavilions of the All-Union Agricultural Exhibition in Moscow (opened in 1939) and national expositions of the USSR at exhibitions abroad. Last work L. Lisitsky became a poster "Everything for the front! All for victory! " (1942) One of the founders of domestic constructivism elected the language of the poster of the 1920s, emphasizing the consistent role of the revolutionary Soviet art in mobilizing the people for victory over the enemy
The first poster of the "new design has become the advertisement of the Society" Dobrole ", performed by A. Rachenko in 1923 in several color versions. Further close cooperation of the "advertiser"s advertiser" A. Rodchenko and Poet V. Mayakovsky laid the beginning of the implementation of revolutionary artistic ideas in the poster. It was the Soviet advertising of 1923-1925, created by the efforts of these masters, was the forerunner of the political poster of constructivism. Yes, and the authors themselves constantly emphasized the agitation and political significance of their advertising work, called upon all the goods "Mosselprom" goods, hurry for fashionable purchases in GUM, suck the nipples and wear the galoshes "rubberrest" (1923) The fascination of A. Rodchenko creative photomontage, documentary and staged photography allowed the master to perform the discoverer of a new poster form. The vertex of the concise embodiment of the advertising idea was the "Lengiz" A. Rodchenko with a photoportist L. Brick (1925) Advertising film blocks of contemporaries A. Rodchenko: A. Lavinsky for the film S. Eisenstein "Potemkin"s armadioles" (1926), V. and the city of Stenbigov to Dzigi Vertova" Eleventh"s documentary (1928) and S. Semenova Menes to the film,
B. Turkey "TURTSIB" (1929).
The poster was a field for a variety of creative experiments. Advertising poster S. Senkin "I read the" crocodile "(1925) united photos of the photo and a concise slogan of the Poster" Advertising in the tram "Leningradz D. Bulanov demonstrated the agitoscope for millions of inhabitants of the Socialist City (1927) In the Lottery Poster, M. Dlugach made a political symbol of the country, an image of "Sickle and hammer", mounted from photographs, creating a background for invasively raised young men"s hands (1930).
1924-1925 You can rightly consider the birth time of the constructivist political poster. Photomontage made it possible to transfer the picture of real life, to compare the past and real countries, show its successes in the development of industry, culture and social field. Agitational and educational posters who combined documentary photos with text inserts" illustrated Lenin"s biography pages and his covenants. Photomontal posters have become visual teaching benefits on the history of the world revolutionary and trade union movement. A. Rodchenko worked on them. L. Lisitsky, Kloths, L. Naumova, A. Lavinsky, Ya. Guminer and a number of other artists. In 1927, the artists of the city of Clots and
C. Senkin (Klotsis "without revolutionary theory can not be revolutionary movement").
A photomontructural poster was finally established as the main means of mobilizing masses during the first five-year plan (1928 / 29-1932) He demonstrated the power of the developing power, which was supported by the unity of the people. An outstanding sample was the poster of the city of Klotsis "fulfill the plan of great works" (1930) Special sound gave him "Street" format in two printed sheets. The raised hand of workers on the poster of V. Kulagin symbolized a call for women-shock five-year plan to replenish the ranks of the Communist Party (1932) In1930, the city of Kloths began to search for a composite solution of posters with a photo portrait of Stalin. For the first time, the face of the leader "fired" through the portrait of Lenin in the poster "under the banner of Lenin for socialist construction" (1930) The artist puts Stalin to the right-to-five-year-old drummers ("Our program"s reality is living people ...", 1931) V. Elkin has created a collective portrait of the country"s leadership and deployed on a poster "Long live, the Red Army is an armed detachment of the proletarian revolution! The grandiose picture of the festive parade on Red Square (1932) In the early 1930s, V. Koretsky and V. Gutseich were replenished the ranks of the followers of constructivist artists. They developed a poster shape in which the photos were toned and combined with the drawing image. The poster of V. Gutseich is standing out. For the proletarian park of culture and recreation "(1932) and the list of V. Koretsky" Soviet physical cultures - the pride of our country! " (1935), bright and concisely reflected the most important ideological installations of those years, it should be noted that in the photo mounted poster of the mid-1930s, Kloths, V. Elkin, S. Senkin, V. Koretsky and other artists abandoned the constructivist experiment with fonts and text Blocks, focusing on the image. Poster slogans occupied the place mainly at the bottom of the sheet (r club "and live our happy socialist homeland ...", 1935) Keeping originality and stand out on the overall background of the world poster, as evidenced by his successes at international exhibitions, the photomontal political poster has lost its former domination on the streets of our country"s cities. The huge propaganda experience of constructivist artists turned out to be in demand only when creating pavilions of the All-Union Agricultural Exhibition in Moscow (opened in 1939) and national expositions of the USSR at exhibitions abroad. Last work L. Lisitsky became a poster "Everything for the front! All for victory! " (1942) One of the founders of domestic constructivism elected the language of the poster of the 1920s, emphasizing the consistent role of the revolutionary Soviet art in mobilizing the people for victory over the enemy
Cover:
Cover:Hard
Category:
- Category:History & Geography
- Category:Science & Math
Paper:
Paper:Molded
Series:
Series: Thematic folder Gold Collection
ISBN:
ISBN:978-56464-2
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