Russian avant-garde

• Isaac Babel • Andrei Bely • Vladimir Burliuk • David Burliuk • Konstantin Fofanov • Elena Guro • Velimir Khlebnikov • Daniil Kharms • Aleksei Kruchenykh • Mirra Lokhvitskaya • Vladimir Mayakovsky • Igor Severyanin • Viktor Shklovsky • Sergei Tretyakov • Marina Tsvetaeva • Sergei Yesenin • Ilya Zdanevich

Mikhail Larionov, The Glass, 1912 • Illustration — Suprematism. Kazimir Malevich, Black Square, 1915 • Illustration — Proletkult. El Lissitzky, Beat the Whites with the Red Wedge, 1919 • Illustration — Constructivism. Vladimir Tatlin, Tatlin's Tower, 1919 • Illustration — Constructivism. Alexander Rodchenko, chess table design, 1925 • Illustration — Constructivism. Ilya Golosov, Zuev Club, 1926 The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum, Imaginism, and Neo-primitivism.[2][3] In Ukraine, many of the artists who were born, grew up or were active in what is now Belarus and Ukraine (including Kazimir Malevich, Aleksandra Ekster, Vladimir Tatlin, David Burliuk, Alexander Archipenko), are also classified in the Ukrainian avant-garde.[6] The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the ideas of the avant-garde clashed with the newly emerged state-sponsored direction of Socialist Realism.[7]

The Russian avant-garde had a broad impact on twentieth-century abstraction, design, typography, architecture, film, and later sculptural practices. In the field of geometric abstraction, Kazimir Malevich's Suprematism and Vladimir Tatlin's counter-reliefs helped establish a vocabulary of elemental forms, non-objective composition, and material construction. The Metropolitan Museum of Art has described Tatlin's "culture of materials" as one of the sources of Constructivism, while identifying El Lissitzky as a transmitter of Constructivist principles to Germany, where they were later embodied in the teaching of the Bauhaus.[8] Constructivist ideas circulated internationally through exhibitions, journals, graphic works, and the movement of artists between the Soviet Union and Western Europe. The Museum of Modern Art has noted that Constructivist ideas gained international influence through the Russian exhibition at the Van Diemen Gallery in Berlin in 1922, the Congress of International Progressive Artists in Düsseldorf, and exhibition projects and graphic works by Lissitzky, often made in collaboration with Western European artists. These ideas were later reflected in Bauhaus pedagogy, mid-century sculpture, and Minimal art, including the work of artists such as Sol LeWitt, Mel Bochner, Dorothea Rockburne, Robert Ryman, and Fred Sandback.[9] The movement also had an important legacy in graphic design, typography, photography, photomontage, book design, textiles, cinema posters, and mass-circulation visual culture. Avant-garde artists including Alexander Rodchenko, Lissitzky, Varvara Stepanova, Liubov Popova, Gustav Klutsis, and the Stenberg brothers transferred abstract composition into practical and reproducible media. MoMA has described the work of Popova, Stepanova, Rodchenko, Malevich's pupils, and the Stenberg brothers as laying the foundations of modern industrial and graphic design, with an important impact on European typography and layout during the 1920s. The architectural and pedagogical influence of the Russian avant-garde was especially visible in exchanges between VKhUTEMAS and the Bauhaus. MoMA research on interwar architectural magazines describes the Bauhaus and VKhUTEMAS as parallel institutions of radical pedagogy that shared an interest in the integration of artistic work as construction. It also notes the circulation of publications, exhibitions, correspondence, student exchanges, and guest lectures between Germany and the Soviet Union during the 1920s.[10] In later art criticism and design history, the Russian avant-garde has continued to serve as a reference point for geometric, functional, and systems-based approaches to art. Contemporary art commentary has also discussed Configuratism in connection with Rodchenko's Constructivist work, framing it within a later reception of Russian avant-garde geometry and functional modernist aesthetics.[11]