Naum Gabo

This paper will explore Vladimir Tatlin and Naum Gabo differences on the role of the Avant-Garde artists and how their beliefs influence the kind of work they produced. A pioneer of Russian design Vladimir Tatlin is a representative of Russian Realism. He left home when he was fifteen and served on the shipboard. When he became a painter, he often represented sailors in his pictures Art and culture in Russia after Revolution was a tool for creating industrially aesthetical reality. Tatlin’s project

Cubism was always an interpretation of objective reality, of a given motif. But Kandinsky was to initiate was by contrast essentially and deliberately non-objective. Kandinsky’s own experience was personal and even apocalyptic. 2 Kandinsky conclude non-objective painting must be expressive, emotion or spiritual experience. Non-objective painting could form and colour, free form all representational aim, be articulated into a language of symbolic discourse. 3.Art is a construction of concrete elements

Bakers, the heads Edgar Varese and Fernand Leger, Acrobats, and Brass Family, were his new generation of works. Calder's sculptures prove that he had observed and learned from Mondrian, Pablo Gargollo, Julio Gonzalez, Laslo Mohly-Nagy, Roman Clemens, Naum Gabo, and Antoine Pevsner. Little Ball with Counterweight (1931), Cruise/Universe (1931), and Spherique I/The Pistil (1930) were linear sculptures, which extended his creation of wire portraits. During World War II, Calder reached his artistic maturity

Alexander Calder was one of the most innovative and original American artists of the twentieth century. In 1926, Calder arrived in Paris and devoted himself to a project called the Circus that occupied him for over five years. This contains characters and animals made out of wire, scraps of cloth, wood, cork, labels, bits of scrap metal and pieces of rubber. Calder transported his little theater in suitcases and performed it for his friends. During his performances, Calder invented ways to simulate

Impact of Industrial Revolution on Modern Art at the turn of the 20th Century. To understand most period and movements in modern art, one must first understand the context in which they occurred. When one looks at the various artistic styles, one will realize how artists react to historical and cultural changes and how artists perceive their relation to society. The transition between the 19th and 20th century has brought further development of modernistic ideas, concepts and techniques in

Soviet Constructivist Architecture …and its influences The Russian architectural profession was relatively intact after the revolution in October 1917, at least compared to the other arts in this unstable time. Foreign architects worked freely in the larger cities and the demand for private building was relatively high. This period was short lived as civil war wreaked havoc with the economy and infrastructure of the country. A major turning point for the profession, and the Russian people as

“Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colours, and that you be a true poet. This last is essential.” - Wassily Kandinsky. OVERVIEW / GENERAL PRESENTATION OF CONCEPTS Art historians typically identify the early 20th century as an important historical moment in the history of abstract art as artists worked to create what they defined as "pure art" - creative works that were

Periods and their Artists * Chapter 3 Egypt * Old Kingdom (2700-2190 BCE) * Imhotep – Stepped Pyramid of Djoser * Chapter 5 Ancient Greece * Archaic (600-480 BCE) * Andokides Painter –Achilles and Ajax * Ergotimos –[and Kleitius] Fracois Vase * Euphronios –Death of Sarpedon * Exekias –Achilles and Ajax; Suicide of Ajax; Dionysis in a Boat * Polykleitos –Doryphoros * Classical (480-320 BCE) * Kalikrates