фотуризм в поэзии

Contextualisation | hold on jimmy

Before Constructivism there were many Russian artistic experimental groups including; Cubo-Futurism, Rayonnism, and Suprematism. It was in 1913 the artist Kasimir Malevich invented Suprematism. This was a nonobjective art characterized by symbolic positioning of squares and rectangles framed by negative space. Malevich rejected pictorial representation, instead looking to capture the “expression of feeling…”The artist also believed that to experience art you had to experience color. As Malevich felt with “Suprematist Composition,” it was a, “symphonic arrangement of elemental shapes of luminous color on a white field which becomes an expression of pure color.”

(History Of Graphic Design, Russian Constructivism, http://anneserdesign.com/Constructivism.html [21/10/2011]

The Futurist Movement stayed in existence from the years of 1909-1944. It is considered to be the first art movement to be designed and managed like a business. Futurism was close to the world of advertising, and promoted its product to a wide audience.

Futurism was a 20th-century artistic movement that centered in Italy. The movement emphasized speed, energy, power of the machine, and the vitality, change, and restlessness of modern life. Futurism became a major influence on other art movement such as; Dada, Constructivism, and deStijl. It has had significant results not only on poetry but also for graphic designers and how we look at and treat typography today.

An international movement among European artists and writers between 1915 and 1922, characterised by a spirit of anarchic revolt. Dada revelled in absurdity, and emphasised the role of the unpredictable in artistic creation.

ABCD, Raoul Hausmann (1924), one of the original Dada artists in the 1920s

The Bauhaus was the first model of the modern art school. The Bauhaus curriculum combined theoretic education and practical training in the educational workshops. It drew inspiration from the ideals of the revolutionary art movements and design experiments of the early 20th century. A woodcut (shown right) depicted the idealized vision of Walter Gropius, a cathedral of design.

Students at the Bauhaus took a six-month preliminary course that involved painting and elementary experiments with form, before graduating to three years of workshop training by two masters: one artist, one craftsman. They studied architecture in theory and in practice, working on the actual construction of buildings. The creative scope of the curriculum attracted an extraordinary galaxy of teaching staff. Among the stars were Paul Klee, Wassily Kandinsky, Oskar Schlemmer, the painter and mystic Johannes Itten, László Moholy-Nagy, Josef Albers and Marcel Breuer. Bauhaus students were in day-to-day contact with some of the most important practicing artists and designers of the time.

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