Fashion As Design By The Museum Of Modern Art The Amazing Art Of Constructionist Artist Varvara Stepanova

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The Amazing Art Of Constructionist Artist Varvara Stepanova

The great Russian artist Varvara Feodorovna Stepanova (1894-1958) explored a wide range of artistic trends, from social realism to symbolism. However, she is primarily known for her constructivist explorations and her promotion.

New Russian abstract art began around 1909. Some say that the actual constructivism began in 1919, when Rodchenko first mentioned it. The term was actually used by Russian artists themselves. In some ways it was influenced by Cubism, Italian/Russian Futurism and traditional peasant art. Constructivist artwork is characterized by abstract, geometric forms and techniques of assembling a variety of materials, often of an industrial nature rather than sculpting or modeling.

Constructivism replaced traditional art with socially dexterous art. Artists in this field called on audiences to become active viewers of their artwork. In line with this vision, they were innovators in fine art painting. but also with 3D construction objects. typography design, including posters; textile and fashion design; furniture, stage set and costume design;

A leading Constructivist artist, Stepanova has demonstrated a wide range of talents in all these art outlets and media. For a long time, Varvara used her paintings as a substitute for her art in productions. She aimed to bring art to life by working with functional materials manufactured on an equal footing between artists and industrial workers.

Stepanova lived up to her ideals of working in industrial production, designing comfortable clothing that allowed workers to move freely. She used striking fabrics with geometric patterns suitable for industrial printing methods. Her sophisticated modernist practicality made her popular in Paris in her mid-twenties.

Despite her peasant origin, Varvara attended the Kazan Art School in Odessa. There she met her lifelong art her collaborator and her future husband Alexander Her Rodchenko. In 1912 she moved with Rodchenko to Moscow, where she attended the Stroganov School.

Stepanova and Rodchenko became an important part of Russian avant-garde art, both in terms of their collaboration and their respective roles. An example of collaboration with Rodchenko is the Museum of Modern Art in NYC. *Two artists viewed their artistic experience as public communication rather than personal reflection.

The couple were involved with many influential artists of the time. Around 1917, before the Russian Revolution, they shared an apartment in Moscow with Vasily Kadinsky and were introduced to many other well-known Russian artists.

Early in her career, Varvara loved Futurist poetry. She autonomously developed what became known as “non-objective visual poetry”. An example of “non-objective visual poetry” is presented at MoMA. It is called “Gusto Chava”, 1919.

Stepanova designed the Cubo-Futurist artwork for use in the artist’s book. This kind of artwork combines the use of Cubist forms. At the same time, it incorporates ideas from the past, especially the Futurists’ passionate distaste for political and artistic traditions, and their love of action and technology. She took part in her world-famous art shows, including the 5th and 10th State Exhibitions in 1919 and the 5×5 = 25 Exhibition in Moscow in 1921. did.

Much of her work features robotic, efficient, and dynamic figures—the New Socialist figures. In one of her most famous works, “The Billiard Players,” Stepanova simultaneously portrays mechanical action and emotional states.

More than her husband’s work, Stepanova’s work in the 1920s represented the Russian avant-garde. Her constructivism flourished until her mid-1930s. From 1920 until 1925 Varvara taught at the Krupskaya Social Pedagogical Academy.

* Direct links to these artwork samples can be found at http://www.eArtfair.com.

copyright A. Lee, 2008 – All rights reserved.

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