Russian Ladies of the Avant-garde

Author: Linda DeLaine
Website: RL Online
Department:
Page: 3   ( 7) pages

Summary: Part III of this feature

Varvara Stepanova was the youngest of the group (1894 - 1958) and, like her counterparts, was romantically involved with another artist; in her case, she was married to Bolshevik photographer Alexander Rodchenko. During the late 1910s, Varvara produced small paintings which combined abstract image with text from post revolution poetry. She did not excel in the abstract and by 1920 had turned to a systematic style of using colored geometric shapes to create her characters.

Her figures were more a technical study of construction than studies in color and light. Varvara was a leader in the emergence of Constructivism in Russia (1914-32) and dedicated much of her efforts towards industrial and theatrical design work. She believed that art must have practical use.

Considered non-conformists to Social Realism, both were banned from the Soviet art circles in the 1930s. The couple eked out a living doing piece work for stage settings in various area theatres.

Socialist Realism was the officially sanctioned art style of the Soviet Union from the early 1930s to 1980s and resulted in the many dramatic and dynamic portraits and events we are familiar with. It differed from Realism which is a mirror reflection of life and not always pretty or positive. The purpose of Socialist Realism was to promote the development of a classless society. It focused on the heroes and heroic events involved in the movement. In this way, it somewhat resembled Romanticism with its larger than life portrayals of heroic characters and their acts.

In Conclusion
Immediately following the Bolshevik Revolution of 1917, Russian avant-garde artists, themselves representing a revolutionary new breed and style, became a trademark of the Bolshevik regime. Avant-garde was not reminiscent of any previous art form, just as the Bolshevik regime represented a drastic change from anything Russia had ever known.

Avant-garde artists, using their various techniques, created propaganda posters and painted many of the grand murals and other trappings for celebrations of the Revolution's anniversary. The Soviets were very focused on the importance of industrialization and the artistic style of Constructivism went hand in hand with the Bolshevik vision of industrial might.

All too soon, Stalin and his idea of Socialist or Soviet Realism came along. Avant-garde was soon declared taboo, and the works of the Russian avant-garde artists were almost lost to history. Suppressed by Stalin and as yet virtually unknown to the West, these artists, especially the women, finally are receiving international attention and credit. The best permanent display of Russian Avant-garde is at the Marble Palace, part of the Russian Museum in St. Petersburg.

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Amazons of the Avant-Garde
Alexandra Exter, John E. Bowlt (Editor)

Hardcover, 365pp.
Abrams,Harry N Inc
March 2000