Chapter 15 describes the art movement in the mid 1900's within Russia. It first began with Russian suprematism and constructivism. Suprematism was a painting style that used basic forms and pure shapes. It was was founded by Kasimir Malevich, who believed that the essence of the art experience was the perceptual effect of color and form. Most of the art during this time was all fueled by the revolution. Many people no longer wanted to move forward with art, while many other people knew the importance of it all. Constructivism was based on industrial design, visual communications and serving the communist society. They didn't want people to focus on useless paintings, but make them for the sake of the country. Put them to use. Texture, tectonics and construction were the three main principles of constructivism. El Lissitsky was the leader of this movement, who refused to use Gutenberg's metal typesetting. He developed a new style of painting called PROUNS which introduced three-dimensionality in the positive depth and naught depth. He also designed a book that set new standards for organization and composition because he used grid structures. Propaganda photomontage was led by Gustav Klutsis, who described the medium as 'the art construction for socialism.' This guy was pretty intense because he believed that photomontage was the art of the future, and nothing else really compared to it. After these movements came De Stijl, which occurred in the Netherlands from creator Theo van Doesburg. De Stijl 'sought universal laws of equilibrium and harmony for art, which could then be a prototype for a new social order.' This style was very geometric using only primary colors. Curved lines and diagonals were removed and san serifs were favored.
I think it's interesting that artists during these periods really focused on a reason for their color choices. Most of the time artists choose colors based on popularity, their audience and just because. But during De Stijl, they intentionally chose red and black because it was the colors of their revolution. Color wasn't used as an afterthought, it was predetermined and a very important structural element. I don't recall reading about past artist who focused on a color so much (besides in war propaganda/posters), so this is pretty fricken sweet.
Did the American's ever pick up on these Russian art movements?
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