Monument to the Third International, also sometimes known simply as Tatlin's Tower, is the artist's most famous work, as well as the most important spur to the formation of the Constructivist movement. The diagonal wires are evocative of a musical instrument, and they were perhaps inspired by Tatlin's experience as a musical instrument maker.ĭesign for the Monument to the Third International (1919-20)
CONSTRUCTIVISM POLITICS DEFINITION SERIES
The idea for the series may have come from the Technical Manifesto of Futurist Sculpture (1912), a volume by the Italian Futurist Umberto Boccioni, in which he calls on sculptors, "Let's split open our figures and place the environment inside them." The way in which the object spans the corner changes the space of the room, and establishes a unique relationship to the surrounding environment. However, its placement in the corner of a room also echoed the traditional site of religious icons in a pious Russian household - hence Tatlin suggests that modernity and experiment should be Russia's new gods. It is typical of this development that Corner Counter-Relief conforms neither to the conventional format of painting or sculpture, because Constructivism would aspire to display those old fashioned forms. Tatlin's Counter-Reliefs were a vital part of his developing ideas, and they form a bridge between the influence of Cubism on his work, and the birth of Constructivism. Constructivists were to be constructors of a new society - cultural workers on par with scientists in their search for solutions to modern problems. But also crucial was the desire to develop a new form of art more appropriate to the democratic and modernizing goals of the Russian Revolution.
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Objects were to be created not in order to express beauty, or the artist's outlook, or to represent the world, but to carry out a fundamental analysis of the materials and forms of art, one which might lead to the design of functional objects. Constructivists proposed to replace art's traditional concern with composition with a focus on construction.But it would continue to be an inspiration for artists in the West, sustaining a movement called International Constructivism which flourished in Germany in the 1920s, and whose legacy endured into the 1950s. Russian Constructivism was in decline by the mid 1920s, partly a victim of the Bolshevik regime's increasing hostility to avant-garde art.
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Others, meanwhile, pushed on to a new but short-lived and disappointing phase known as Productivism, in which artists worked in industry. Some continued to insist on the value of abstract, analytical work, and the value of art per se these artists had a major impact on spreading Constructivism throughout Europe. Ultimately, however, the movement floundered in trying to make the transition from the artist's studio to the factory. It borrowed ideas from Cubism, Suprematism and Futurism, but at its heart was an entirely new approach to making objects, one which sought to abolish the traditional artistic concern with composition, and replace it with 'construction.' Constructivism called for a careful technical analysis of modern materials, and it was hoped that this investigation would eventually yield ideas that could be put to use in mass production, serving the ends of a modern, Communist society. It evolved just as the Bolsheviks came to power in the October Revolution of 1917, and initially it acted as a lightning rod for the hopes and ideas of many of the most advanced Russian artists who supported the revolution's goals. Constructivism was the last and most influential modern art movement to flourish in Russia in the 20 th century.