The Russian Avant Garde and the Bolshevik Revolution
The Russian Avant Garde began in Russia in about 1915 It was the year that Malevich revealed his Suprematist compositions that reduced painting to total abstraction. and rid the pictures of any reference whatsoever to the visual world. He is credited with being the first artist to do this; that is, forsake the visual world for a world of pure feeling and sensation. This was the first movement originated by Russians and the birth of several other Avant Garde movements. Probably the most popular piece at his 1915 exhibition was “BLACK SQUARE” (real name “suprematist composition”. 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 ...
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...er had a base. A few caved in and became correct thinkers. A few escaped to other countries in Europe. Some stayed in Europe and some ended up in America. They have developed and grown. Along with Gabo and Rothko and Kandinsky and numerous others, they are still having a profound influence on art. There were many parallels between the Russian Avant Garde and the two revolutions in 1915. The big difference between them in 2001, is that the art survives and grows stronger; while the other is seen for what it is, a pathetic pseudo despotism run, for a lot of years by a sociopathic mortophile.
BIBLIOGRAPHY
Russian Constructivism. Christina Lodder. Yale University Press. 1983.
Art Spoke. Robert Atkins. Abbeville Press. 1993.
Art and Revolution. John Berger. Pantheon Books. 1969.
The Struggle for Utopia. Victor Margolin. University of Chicago Press. 1997.
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Edward Dunes’ life as a revolutionary during Russia’s transition from a Tsarist state to that of a Marxist-Socialist regime, was propagated by many situational influences/factors stemming from his families relocation from Riga to Moscow. As a young boy in Riga, Dunes’ thirst for books along with a good educational elevated his potential to be a highly skilled worker. Dune’s childhood education coupled with factory life in Moscow along with a subsequent influential individual in his life with his father’s heavy labor socialist views, molded Dune into the Bolshevik revolutionary he became.
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The painting was done near the beginning of the twentieth century when science was developing at a rapid rate. Einstein's Theory of Relativity was gaining ground at the time. Malevich's painting seemed to borrow from this theory that attempted to explain relative motion. His suprematism style attempted to capture a neo-realism in painting portraying pure feeling and perception. This new style was communicated by the discarding of natural references. Malevich grew tired of painting in the traditional style with everything looking and feeling the way they are in life. His new style tried to free viewer from their traditional a priori views concerning shape and colors imposed on them by their senses. Suprematist style focuses was on depictions of movement and dynamism. Flight and anti-gravity fascinated Malevich. Much of his paintings were a top down view of the subjects arranged on a white background. The white background represents infinite space, while the subjects were reduced to geometric blocks. The message of the paintings comes out in the relative position of the blocks to the background. The infinite background of the paintings is to divorce the paintings from the finite earth. Malevich himself said that his paintings "do not belong to the earth exclusively." The paintings sought to transcend to a different level. Malevich's suprematist style sought to take people to the fourth dimension, which was pure sensation.
Watching a movie where hundreds of swimmers on a beach are in a complete panic because of shark attacks makes a person scared to swim in an ocean, lake, or even a pond. Not only movies, but also documentaries of shark attacks stress how dangerous sharks are. In reality, are sharks really that dangerous or is it how they are portrayed? Stephen R. Palumbi who is a Professor of Biology at Stanford University and also the Director at the Hopkins Marine Station at Stanford wrote an article about other animals living in the ocean that are more dangerous to humans than sharks. In fact, he has written books about creatures in the water such as The Death and Life of Monterey Bay, and The Evolution Explosion. In addition, his son Anthony R. Palumbi is a novelist and a science writer that has written for Atlantic and other publications (Princeton University Press 1). Together they co- authored an article titled “Forget Shark Week: They aren’t the only fish in the sea” that was published the Los Angeles Times.
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