Constructivism was mainly associated as a Russian art Movement involving an abstract conception, the movement lasted until approximately 1921 and was replaced with Socialist Realism, which demonstrates complex dimensional constructed forms. These bold stylised art pieces conceiving unusual structures impacted on architecture of this period. The movement shows recognition of perceived abstract art through constructed layers, which shows the artist’s adopting a geometric stylistic use of shapes in different combinations. Artists who adopted this perception on structure executed this through their work as they use of a Variety of unseen materials on an industrial scale.
Fig.2. Monument to the Third International
The contrasting contours of Vladimir Tatlin’s Leaning spiral show how its iconic shape uses straight lines constructed by contrasting curves from one of the adopters of the abstract conception of structure. The Linear horizontal metal structure complimented by the curves and dips. Mobility able between the sections shows the artist expressing ideas of controlled movement creating a visual experience. The shape can also be seen as the double helix of the DNA structure but this is mealy speculation. ‘Vladimir Tatlin in Moscow developed this into hanging and relief constructions, abstract in conception, and made of a variety of materials, including wire, glass, and sheet metal. He later turned to architectural and engineering schemes such as the projected monument to the Third International- a leaning spiral about 1,300 feet high with counter-rotating central sections. Prevsner and his brother Gabo evolved from cubism, but only after returning to Moscow in 1917 did they become abstract Constructivists, publishing in 1920-the year of the big Constructivist exhibition-their ‘Realistic Manifesto’, in which they restated the idea of Archipenko and Boccioni that only movement in space and not volume was important in art.’ (Murry, 1959:102) ‘their manifestations include abstract sculpture employing non-traditional materials such as Perspex, or industrial methods such as welding.’ (Larousse, 1961: 261)The brother’s works have shown new directions the movement has been taken to through innovative use of materials being known as practitioners who stuck with the movement. These examples I found demonstrating complexity in the dimensional constructed forms using metallic materials.
Expressionistic art began to develop during the eraly 20th century and aimed to convey the rawest of emotions through artistic techniques. The movement evoveld from Impressionism. ‘All art is expressive-of its author and of the situation in which he works-but some art is intended to move us through visual gestures that transmit, and perhaps give release to, emotions and emotionally charged messages. Such art is expressionist. ‘(N. Lynton,: 30) Which led me on to looking in to Abstract Expressionism for further inspiration and ideas of how I could include the techniques in Expressionism further into my own visual designs of our group sets. ‘The following generation of Fauves and Expressionists produced a vital and energetic dislocation of appearances… Finally with the Abstract Expressionists, reality has disappeared completely in seeing torrents of paint and heavy impasto which are stirred by purely organic rhythms.’ (N. Lynton, 1981: 261)
Sutherland who was appointed a Offical War artist in 1941 due to his re-interpretations of torture scenes which include his ‘Cuxifision’ which I incorporated into my Time Machine essay. ‘The search for expressiveness of style by means of exaggerations and distortions of line and colour; a deliberate abandon of the naturalism implicit in Impressionism in favour of a simplified style which could carry far greater emotional impact.’ The body of his Christ is nailed to an unusual cross which almost imitates a winged shape. This may be relating to the idea Jesus is a higher being and more holy than us which is suggested through the cross enlarging the size and diminutions of his true size and form. The softness of the shadows and highlights suggests rises in Christ’s dimensional form in the perspective of light. Christ’s protruding rib cage shows the expressions behind the lines creating expressionistic strokes. The highlighting of the background representing brick like shapes imitating a concert suggests to the viewer it is hard and cold. This shows the artist using further metaphorical language to imply the coldness of the scene its self through the shades of greys and blues Sutherland uses. His expressionistic style is explored through layers built up on to the canvas creating extremely thought provoking scenes which demonstrates the ententions of the movment Expressionism.
Fig.3. Devastation An East End Street
Part of his collection of painting dedicated to show the deviation and repression amongst the period of World War Two capturing destroyed buildings as people lives were turned to rubble. Sutherland uses distorted broken down structures to imply his inspirations from the landscape of devastation. The crumbling bricks form the structure which can be on speculation related to left elements of walls, which immediately provokes the viewer to image what it was and what was the causation of it. The intensity of the blues and majestic greens blending seamlessly into the heightened colours of the sky shows suggestion of terror through the derelict and disserted landscape.
Fig.4. Study after Velazquez. Pope Innocent XX
I came across this painting that reminded me of the expressionistic sense of distortion of figures that Sutherland’s ‘Crucifixion’ inhabits. Francis Bacon who uses contemporary context along side figures expressing emptions often involving some sort of distress. In particular his paintings involve the artist creating image which shows connection between the ideology in a metaphorical sense. The painting ‘Pope Innocent xx’ of 1953 shows Francis Bacon exploring the metaphorical senses of anguish, isolation and terror. This is built up through the intensity of the contrasting yellow against the warn and dusky purples greys. This is a significant factor in the popularity in his series of painting featuring the Pope in a screen like expression.
Jackson Pollock, an American action painter 1912-1956 uses paint as an extension of his inner expressions. In 1936 Pollock was first introduced to liquid paint which signifies and forms his exocentric and bold unconventional style. He uses synthetic enamel, metal and plastic paints and applies them to the canvas on the floor while moving around it which makes his style of painting similar to Indian Sand Painters of the West. ‘A quarter of a century has passed since Pollock’s death, and it is now easier, in hindsight, to see the unites of theme and shape in his art.’ (Hughes: 262) He works without any pre planned idea and focuses more on capturing his emotions at that particular point in time. ‘My painting is direct….I want to express my feelings rather than illustrate them. … When I’m painting I have a general notion as to what I am about. I can control the flow of paint: there is no accident, just as there is no beginning and no end.’ (Pollock, 1959: 353) His early work shows exploration of different techniques used in applying the paint. In 1947 he stopped using paint brushes and instead experimented with splattering, pouring and dripping paint on to the canvas. During 1948-50 Pollock’s works consisted of static forms with a delicate and abstract nature. This came to be known as his ‘drip period’. However in 1953 he began to use brushes again in his work. ‘Pollock had never been a natural draftsman; his line had a laboured, blurting character, an inherent clumsiness of the hand. But by 1948, he had mastered this way of painting “from the hip” swinging the paint stick in flourishes and frisks that required an almost dance like movement of the body, Pollock’s drawing had gone to the opposite extreme on their short flight to the canvas, the sheins and spatters of paint acquired a singular grace. The paint laid itself in arcs and loops as tight as the curve of a trout-cast. What Pollock’s hand did not know, the laws of fluid motion made up for.’(Hughes: 263) This describes how he changed and introduced this stylised form of abstract painting which creates 3-dimentional forms and the movement of individual and grouped particles through the essence of cubism.
Bibliography used during my research
Murray, Peter and Linda. (1959) The Penguin Dictionary of Art & Artists. (1st) England: Penguin books LTD
Lynton, Norbert. (1981) Concepts of modern art, London: Thames and Hudson
Smith, Edward Lucie. (1945) Movements in Art since
Hughes, Robert. (1980) The Shock of the New Art and the century of Change, London: British Broad Casting Corporation
Larousse Encyclopedia of Modern Art. (1961) Modern Art from 1800 to the present day, Paris
(1961) Concepts of modern art, London: Thames and Hudson
Edward Lucie-smith. (1969) Movements in Art since 1945, London: Thames and Hudson LTD
List of Illustrations
Fig 1, Lissitzky, Eliezer Markowisch (1922) The Story of Two Squares
In Concepts of modern art, Page 88. London: Thames and Hudson
Fig 2, Tatlin, Vladimir (1919), Monument to the Third International [Drawing]
In Concepts of modern art, Page 91. London: Thames and Hudson
Fig 3, Sutherland, (1941) Devastation 1941: an East End Street [Crayon, gouache, pen and ink, pencil and watercolor on paper]
In Larousse, Modern Art from 1800 to the present day, Page 30. Paris
Fig 4, Bacon, Francis (1953) Study after Velazquez. Pope Innocent XX [Oil on Canvas]
In Edward Lucie-smith, Movements in Art since 1945, Page . London: Thames and Hudson LTD
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