Laconic USSR Rodchenko (many photos). Period of constructivism new type of art

V. F. Stepanova - A. M. Rodchenko April 12, 1925 MoscowMushka, I try to write you more fun. Many days still have to write to you letters. Write how you go there and how do you dine, on what language you are saying. I'll start writing a sad letter to you, and my mother laughs

A. M. Rodchenko - V. F. Stepanova On April 15, 1925, Paris bought two players very good, which workers are worried here, one brown, another bright blue for 12 p. I like them very much. Even Polyakova seduced, and he bought himself such. And there are fufayki vests that Brick has. But these

V. F. Stepanova - A. M. Rodchenko on May 1, 1925 by the Moscow Radio ... Spring motifs. Twilight ... I am in a state of lyrical. In a dream it was with you, I want to be in reality. Transmit on the radio international, the whole orchestra, has not been transmitted for a long time. I can not write what I

A. M. Rodchenko - V. F. Stepanova on May 2, 1925 Pariskouquis "Sept" with a watch factory, with Zeys Testaire 3.5 to 6 meters, with 18 cassettes, with a tripod, film, printed, etc. I sit and Top ... He is small, less than my camera 9 x 12. But trouble is a lens with scratch, tomorrow

V. F. Stepanova - A. M. Rodchenko on May 9, 1925 by the Moscow Motorogo Mulling, found another way of sending letters - air mail. So I will send this letter. Your all letters received, starting from № 2, I did not receive the first letter. Tays, cute, devices. Dziga asks to write prices

A. M. Rodchenko - V. F. Stepanova On May 10, 1925, Paris again repeat, that of those ten textile drawings, which was passed to the Academy to the exhibition, they accepted only four in Moscow. Six pieces you can take in the academy back home. CLUB is ready, start painting, good chess

V. F. Stepanova - A. M. Rodchenko on May 16, 1925 Moscowmail, my dear, angry, beloved and anywhere Mulle! Write, did you finally meet with Picasso and Leong. Yesterday we had a heavy scene with us again with Aleshka28, difficult to describe in detail, but the general meaning is that we forgot him and

A. M. Rodchenko - V. F. Stepanova May 19, 1925 Parismilate Mulle! He got a wall newspaper, but I don't know if she will go. Mile, you are nervous terribly. It is necessary to behave calmly, I can't leave everything here. I must decompose everything and rave, but for now none of the 8 rooms

V. F. Stepanova - A. M. Rodchenko on May 27, 1925 Moscow Rodchenko received a letter from 19 May No. 25, where you calm me and talk about the tightening. I seriously and did not think that you can come earlier on June 15, it was only pleasant dreams. I ask you not

A. M. Rodchenko - V. F. Stepanova May 29, 1925 Parismaya Cat! I got 102 dollars through Polyakova. They say Dziegov that no "Septea" there is no 15-meter in Paris, there is in Germany, but rubbish. I have already ordered him the device, as I get the first money by mail, now I will send. Wait arrived

V. F. Stepanova - A. M. Rodchenko on June 1, 1925 by the Moscow Rhodickens, received your letter No. 28 of 24.05, where you write what you want to buy verte apparatus. He is very pleased, especially asks an added telephoto lens. As you just get the device, let's go to jig that I bought

Rodchenko Alexander Mikhailovich 23.11 (5.12) .1891 - 3.12.1956List, sculptor, schedule, photographer. One of the organizers of the Institute of Artistic Culture. Series of works "Composition of motion of projected and painted planes" (1918), "Color and forms" (1918), "Density and

A. Lavrentyev

Gallery of the works of Alexander Mikhailovich Rodchenko

There are no photos in this gallery that could be shown.

Who was Alexander Mikhailovich Rodchenko? Artist book, master of poster and advertising, inventor of unprecedented spatial structures and asylopist architect, agitator, experimenter in painting, industrial art? All these vents of his creativity somehow did not argue with each other, were not separated from each other and arose as a result of the artist's needs to participate in the process of building a new one.

As Rodchenko himself wrote in one of the poems: "Weching silence with stubbornness of rage ... seekers! Bold Buntari! Away, drive away the unfortunate mummies, in love with the romantic twilight of the written old women with the unfinished sponsors ... The dazzling present is "forward"! " And in one of his articles, stating that he personally sees the vocation of the artist in the fact that a new, not former to be made to life, wrote: "Christopher Columbus was the opener of new mainland and only. The artist does not passively reflect the era, and next to everyone builds it. Hence the wider spheres of the application of creative forces. "

In painting, Rodchenko reflects the world of dynamic, sharp contrasts. It feels clear, major perception of the art itself as a joyful active action. From its design projects, the threads are drawn to new architectural solutions, to the practical techniques for the design of urban spaces and experiments on the study of movement in art, research of the role of time. In Printing Rodchenko, the clear stability of the geometric elements is, as in the building, the framework of the book. He introduces a photograph in its structure as the most authentic, real document. A poster campaigning inherent in the installation of his books was particularly relevant in the Book of Mass, Political, in the design of Mayakovsky's books. Rodchenko issued 13 books of the poet, including the poem "about it" (1923).

Furniture projects developed with students in Vhowema. The design of the working club for the World Decorative Art Exhibition in Paris in 1925. Work for theater and movie ...

What is all this - self-dissolving in utility? Other chairs and covers are obsolete (inevitably!), But the demonstration of art opportunities in solving ordinary everyday tasks remains valuable. In the best projects, Rodchenko we feel not only the clarity of the functional solution (it is convenient to sit, read). They have a pathos, the emotionality of plastics, strictly designed in its actions. For example, the impact of the work of the working club was determined, in particular, a thought-out artistic "arrangement" of color. The combination of white, red and gray created a feeling of calm and clarity. In photomontal covers, books, posters, we often see unexpected comparisons of various motifs, contrasts of scale that makes the impression of a fascinating fantastic composition. It was logical that Rodchenko, an artist, persistently looking for in his art most active methods of influence on the viewer, so strongly transformed a photo by making it a branch of fine art. His work in this area talked photographers to a special dynamic look at reality and bold composite comparisons that reveal the very essence of the phenomenon, won off the role of painting, painting in the construction of the frame.

The artist, agitated by his work for the new forms of life, who never overwhelmed any opportunities for this, Rodchenko specifically gave the accuracy of plastic things. Finding rational and fantastic, static and dynamic, exquisite and "coarse," he always gave him a clear report on the purpose of each practical and experimental work. Intuition did not exclude control, and in this aesthetics Rodchenko is akin to Brechtu. Without the Rodgenko of the twenties, the artistic culture of the era cannot be submitted. He among those who formed her, was talentedly mistaken and talentedly found. Simple, the energetic art of Rodchenko could seem almost schematic in comparison with the complex artistic worlds of their contemporaries. Or even in comparison with its own virtuoso dynamics of pictorial canvases. He brought the form of his work to the "concentration" and expressiveness of the sign, the sign of the space, the sign of the social concept. This is a conscious asceticism that has enlightened the wealth and energy of plastic culture. Art should act immediately and efficiently as the pictorial folklore, turn to the mass, understand not as the sum of individual perceptions, but as a certain unity of feelings, thoughts, perceptions. This conscious concentration of artistic will is a natural, almost programmed conclusion from a personal understanding of the activity of the social function of art and intense analytical quests,

In the 1930s and 1940s, Rodchenko focused more and more in the photo in the book. Together with V. Stepanova, he draws magazines and designs the most interesting documentary albums. And again in his life, painting occupies an important place. These are small, artistic variations on the topics of a circus, striking, fantastically tense per feeling of canvas 1942-1943. He now did not repeat in new things of old experiments. In all that Norgodchenko did, you feel the unity of attitude to the world, the unity of plastics. This is not a manner, but the method of solving plastic problems, the philosophy of creativity. He was not so universal as it seemed to the master himself, but, perhaps, in our age there is no method and cannot claim universality. In any case, the contribution of Rodchenko to the development of artistic culture is significant and indisputable.

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Alexander Mikhalovich Rodchenko, a constructivist and designer, spent the whole conscious life in creative quest. He did not always find an understanding of the state, and then in the work there was stagnation, and in the shower - longing. This is especially marked by the last years of life.

Childhood and youth

In 1891, the son of Alexander was born in the family of theatrical stuff and bars. After eleven years, they moved to Kazan. There, Rodchenko graduated from the initial parish school in 1905. Parents dreamed that the Son would learn and become a dental technician - a specialty of a secured person, and I want to draw a teenager. From 20 years to the beginning of the First World War, he is engaged in four years in Kazan, in an art school, where it will get acquainted with Vary Stepanova, which will become a girlfriend and a companion for life.

But in 1914 he was taken to the army and send to the Moscow Zemstvo, where he heads the household of a sanitary train.

Moscow

Since 1916, Alexander Rachenko begins to conduct experiments with painting and participate in exhibitions V. Tatlin, on which he puts his avant-garde paintings. You can relate differently to the avant-garde. In these works, someone will find a deep meaning in the invented new forms, because the artist thought about something, creating paintings. Alexander Rodchenko considered his creative searches as a research method.

After all, he wrote the programs in which she recorded his beliefs. And in the pictures composed of geometric forms, tried to reveal the depth of the space and the shape of the elements.

Organizational activities in Moscow

In 1917, artists create a professional union. Alexander Rodchenko - published a person, he is 26 years old, he is full of energy and, being secretary of the trade union, is taken for organizing the life of young artists. In addition, he participates in the design of the cafe "Pittoresca", and also serves as a drug addict.

Creation

In 1923, the Book of Mayakovsky "About it" was published. To her, Rodchenko created brilliant illustrations. Photocollages included portraits of the creator himself and his beloved Lily Brick. The book was ambiguously perceived by contemporaries. The design strengthened the frankness of the drama. For example, Lunacharsky was delighted with the poem, but it was skeptical about its design, the work of Rodchenko was too innovative. This book was the continuation of their collaborative design work on posters. In the 20s, the poster has changed dramatically - it became extremely catchy, concise, informative. From Western European, he was sharply distinguished by his innovative forms. Mayakovsky and Rodchenko in Tandem were created in 23-25 \u200b\u200byears in constructivism political

During this short period, several appeals were created to contact Mosselprom, among which the brightest are "cheap bread" and "noid except ...", as well as a rubberrest, advertising of the GUMA. In addition to catching texts, they are highlighted by visual impact methods: simple contrasting bright colors, strange angles. As well as inclined, vertical and horizontal lines, font of different sizes. All together taken could not not attract attention and not convince.

New kind of art

Accidentally revealed the next line of the talent of this extraordinary person - photo art. Alexander Rodchenko was set before the need to photograph his theatrical work. What is amazing, ideas simply fondan in the 20s. The question arises: when did he manage to implement them all? Worked, what, after 24 hours? Having discovered a new type of art, he was given to him with all the fervor. He caught moments of life everywhere and created masterpieces.

He removed people and objects from unusual points, took the angle at an angle, photographed from below and on top, created portraits. These were pavilion shooting, and on the streets of the city, and in nature.

In the 1930s, Rodchenko accused the bourgeoisity for shooting a pioneer, which is a pipe in the pipe. But he continued to work, without adjusting to the requirements of power. The case ended in that in 51 he was excluded from the Union of Artists. It was a gloom period in his life and in his wife's life Barbara Stepanova. But everything was stupid after the death of Stalin, and in 54, Rodchenko was restored in the ranks of artists. Two years later, in 1956, Rodchenko passed away. He was 64 years old.

But he did so much that his archives need to continue to explore and make photo exhibitions of his work, as they reflect the time and did not lose artistic expressiveness.

"Great Experimentator", by definition of collector GD Kostaki. Continuing searches in the field of cubaceuturistic and impossible painting, highly appreciating K.S. Malevich and V.E. Tatlin (he considered him his teacher in his youth), from 1917 to 1921 he created an original radical system of abstract art, based on the geometric structure and minimal means of expressiveness , entered the number of authoritative masters of the 1920s.

Born in St. Petersburg in the building of the theater in Nevsky Prospect, where his father worked by Butaphor. From an early age dreamed of creating incredible costumes and representations from light, color, air. After moving the family in Kazan, he studied on a dental technique, but chose the path of the artist. In the Kazan Art School (1911-1914) was a fully luster, worked as lessons and workouts for the University of Kazan. Among the teachers especially appreciated N.I.Feshin. Favorite artists: Vincent Van Gogh, Paul Gaugugen, Obry Burdsley. He liked the purity of the lines in the Japanese engraving of Utamaro and Hokusai. I was interested in literature, wrote poems, illustrated the plays of Wilde, loved the poetry of Bodler and Russian poets of the Silver Age Bolsova and Balmont. In Kazan, I got acquainted with the future wife of the artist V.F. Steepanova.

A.M.odchenko. Bottomless Composition No. 65.1918. Canvas, oil. 90 × 62. PGKG

A.M.odchenko. Composition. 1919. Canvas, oil. 160 × 125. Emia

A.M.odchenko. Lines on green background №92. 1919.Holst, butter. 73 × 46. Kokhm

A.M.odchenko. Composition 66/86. Density and weight. 1918. 122.3 × 73. GTG

A.M.odchenko. Clemented composition №61. 1918. Canvas, oil. 40.8 × 36.5. Tulmia

He moved to Moscow in 1916, he studied in the CCLP, began to be exhibited as a painter (exhibition "Shop". 1916). The search for artists of the Russian avant-garde Rodchenko was connected in the late 1910s, but did not repeat the open, believing that each Creator was valuable with its own original creative experience.

Social coups 1917 welcomed, actively advocated the freedom of creativity. He participated in the creation of the professional union of painters of Moscow (1918), became the secretary of the young (left) federation (Chairman - Tatlin) of the trade union. Agited for a respectful attitude to innovation, in the articles and appeals published in 1918 in the section "Creativity" of the newspaper "Anarchy", called for artists to courage and uncompromising search. He worked in the department of the NCP in subdivision of the art industry, and later - in 1919-1921 he managed the Museum Bureau of the NCP. In 1920-1924 was a member of Inhuka, participated in the discussions of a group of objective analysis of the design and composition, in creating a group of constructivistists. He supported the democratic orientation of constructivism and industrial art. The famous project of the "Work Club", presented by him at the international exhibition in Paris in 1925, is a dream of convenient and rationally organized life. His motto is 1920s: "Life, conscious and organized, able to see and design, there is modern art."

Creativity Rodchenko, starting with linear-circular graphic compositions 1915, developed in the spirit of geometric abstraction. In 1916 he worked on a series of cubaceuturistic compositions. In 1917-1918, the methods of the picturesque image of interpenetrating planes and space examined, showing examples of their creativity at the 5th State Exhibition (1918. Moscow). In 1918, he made a cycle of compositions from round luminous forms "color concentration". 1919 - the start of using the line as self-shaped form in art. Recorded its creative credo in the texts-manifests "All - Experiments" and "Line" (1920). Relevant to art as the invention of new forms and opportunities, considered his creativity as a huge experiment in which any picturesque thing is limited in expressive means.

Each work Rodchenko is the minimum on type of material used compositional experience. It builds a composition on a color dominant, distributing it on the surface of the plane with transitions. The task of making a work, where the main form-forming element is the texture - some sections of the picture written only by black paint, pouring lacquer, others - leaving matte (work "black on black", 1919, based on textual processing, shown on the 10th The State Exhibition "Bottime Creativity and Suprematism" (1919. Moscow). The combination of brilliant and differently processed surfaces creates a new expressive effect. The border of the textures are perceived as a border of the form. Rodchenko made a composition of some points, lines, giving these elements with philosophical multi-consciousness, approved by these elements Line as a symbol of construction (19th State Exhibition. 1920. Moscow).

Finally, in 1921, Rodchenko completed his picturesque system three smoothly painted canvas: red, yellow and blue (Triptych "Smooth Color". Exhibition "5 × 5 \u003d 25". 1921. Moscow). In the Avenue of Automonography in 1922, he writes: "Passed stage in art I consider it important to remove art on the path of the initiative industry, the path that the new generation should not be held." It was the beginning of the transition to "industrial art."

The experience of Rodchenko convinced that there are universal composite schemes (vertical, horizontal, diagonal, cross-making construction, zigzag, angle, circle, and so on). The emphasising of composite schemes, the detection of the geometric principles of constructing the composition will be later the essence of its photographic experiments with an angle.

In addition to painting and charts, Rodchenko was engaged in spatial structures. Created three cycles of work, in which the principle of structurality and regular geometric construction introduced. The first cycle is "folding and disassembly" - from flat cardboard elements connecting on the s) (1918). The second is "planes reflecting the light" - freely hanging mobiles - cut from plywood concentric forms (circle, square, ellipse, triangle and hexagon) (1920-1921). The third is "on the principle of the same forms" - spatial structures from standard wooden bars, connected by the combinatorial principle (1920-1921).

Rozhenko's designs, its structural-geometric linear discoveries influenced the formation of a characteristic constructivist style in a book and magazine graphics, in posters, in the subject design, in architecture. If Tatlin pointed out the direction of constructivism with its monument III of International, then Rodchenko gave a method based on structural-geometric linear formation and combinatorics.

In 1919-1920, he participated in the work of Zvkulptarha (the Commission of the Department of the NCP was established by N.A. Lesovsky, with the participation of architects V.F. Krinsky and G.M. Map, sculptor B.D. Korolev, painters Rodchenko and A.V.Shevchenko ), fantasted on the topic of new architectural structures and types of buildings - kiosks, public structures, high-rise buildings. I developed the concept of "city with the upper facade", as it believed that in the future, in connection with the development of aeronautics, to admire the city not from the bottom, not from the street level, but from above, flying over the city or being on all sorts of viewing sites. The Earth should be released for movement and pedestrians, and on the roofs of buildings to design expressive structures, transitions hanging blocks of buildings, which will make this new "top facade of the city."

In 1920, a professor of the picturesque faculty, from 1922 to 1930, a professor of the metalworking faculty of Vhutemas-Vhutein, where actually founded one of the first domestic schools. He taught students to design multifunctional items for public buildings and everyday life, seeking expressiveness of the form due to the detection of the design, witty inventions of transforming structures.

Rodchenko collaborated with the leaders of the left avant-garde cinema: A.M.Gan, Jiga Vertov (titers for the "Film", 1922), S.M. Seesinstein (Posters for the film "Bremeno Potemkin", 1925), L.V.Kuleshov (work Decorator and artist-director in the film "Your Familiar", 1927). Cinema attracted Rodchenko as new technical art.

The first photomontizes and collages of 1922 were published in the magazine "Cinema-Fot". He published him Gan - director and architect, constructivism theorist, the author of the first book about the objectives of constructivism, the cover for which Rodchenko did. Gan attracted Rodchenko and Stepanov from the very first issue. He wrote about Rodchenko's Titors to the "Film Film" (series of chronic films) Vertova, published the experimental spatial structures of Rodchenko and its architectural projects of the city of the future, Charlie Chaplin's cartoon. The visual culture of the avant-garde in the cinema, photographs, architecture and design was united. Rodchenko decorated in 1927 Book I.G. Erenburg about cinema was called "materialization of fiction." These words can be considered the motto and the artist.

With its photographs, photomontasters and graphic compositions, Rodchenko influenced directors and operators, created memorable film blockats for Vertov's documentaries, Eisenstein's film epopsychos, advertising for playing films director D.N. Bassalygo on revolutionary topics.

Rodchenko was the main artist of the Literary and Art Group of the LEF, issued the books of B.I. Arvatova, V.V. M. Makovsky, N.N.Aseeva, S.M.Trevyakov, the covers "LEF" (1923-1925) and "New LEF" (1927-1928). Together with Stepanova and Gan, it was connected to the design of technical and popular science literature. In the book graphics, design of advertising posters, leaflets, the packaging adhered to several principles: subordination of the composite solution to the graphic scheme and the structural field (module), the use of chopped drawn font, the maximum filling of the space of the sheet forms, the use of graphic accents (arrows and exclamation marks). Introduced the photo formation in the design of books (the first edition of the poem "about this", 1923), magazines and posters.

Together with Mayakovsky (text), he fulfilled more than a hundred advertising leaflets, posters, signs for state enterprises, trusts, joint-stock companies: "Blood", "Rubberrest", Gosizdat, GUM, developing for each of the organizations a unique program that determined its graphical uniqueness. Brightness, posterity, some brutality advertising of the first half of the 1920s is characteristic of early constructivism.

In 1925, Rodchenko goes to Paris to the international exhibition of decorative arts and art industry, where in the Soviet section presents his interior of the "Work Club". The club's space was solved comprehensively, with the allocation of individual functional zones (tribune and screen, library, reading room, entrance and information corner, Corner of Lenin, Chess area with a specially designed chess table), in a single color scheme (red, white, gray , black, in the same colors on the proposal of Rodchenko, Pavilion K.S. Melnikova was painted.

Photography Rodchenko has been engaged in 1924. His psychological portraits of loved ones are known ("Portrait of Mother", 1924), friends and acquaintances from Lef (portraits of Mayakovsky, L.Yu. and O. M.brik, Aseev, Tretyakov), artists and architects (and .A.A.Vesninna, Ghana, L.S.Popova). In 1926, he published his first viewing pictures of buildings (Series "House on Myasnitskaya", 1925 and "House Mosselprom", 1926) in the magazine "Soviet cinema". In the articles "Ways of Modern Photography", "against a summarized portrait for a snapshot" and "large illiteracy or small nasty" promoted a new, dynamic, dynamic look at the world, defended the need to master the upper and lower points of view in the photo. Participated in the exhibition "Soviet photo for 10 years" (1928. Moscow).

In the magazine "Soviet cinema" page "Photo in Cinema", published articles about the modern photo in the magazine "New Lef". On the basis of photosection of the creative association "October" in 1930, he created the same photo group, which gathered the most avant-garde masters of the Soviet photography: B.V. Ignatovich, E. M.Langman, V.T. Gruntal, M.A.Kufman. In 1932 joined the Moscow CX as an artist of the book. But at the same time he worked at the Presidium of the Union of Photocino Workers, was a member of the jury of photo exhibitions, beaten in the 1930th Vox to Europe, America, Asia.

In the late 1920s - early 1930s - Photocrust of the newspaper "Evening Moscow", magazines "30 days", "Give!", "Pioneer", "Ogonok" and "Radio listening". At the same time he worked in the cinema (artist films "Moscow in October", 1927, "Your Familiar", 1927, "Doll with millions" and "Albuma", 1928) and theater (productions "Inga" and "Klop", 1929). His scenography was distinguished by laconicism and purity. Furniture and suits in the spirit of late constructivism can be considered as rational samples for production. Dynamics and transformation attended even in clothing models.

In 1931 at the "October" exhibition in Moscow in Moscow, a number of discussion pictures put in the House of Print - removed from the lower point "Pioneer" and "Pioneer-Trubach", 1930; A series of dynamic frames "Wachtan sawmill plant", 1931, who became an object for defeat criticism and the accusations of Rodchenko in formalism and reluctance to rebuild in accordance with the tasks of the proletarian photography.

In 1932 came out of "October" and began working as a photoconductor in Moscow "isogy". In 1933 - the artist-designer of the Journal of the USSR on the construction site, photo albums "10 years of Uzbekistan", "The first equestrian", "Red Army", "Soviet aviation" and others (together with Stepanova). He was a member of the jury and the artist-designer of many photo exhibitions, was part of the Presidium of Photosections of the Film Film Trade Union. In 1941, together with his family was evacuated to the Urals (Ocher, Perm). In 1944 he worked as the main artist of the House of Technology. In the late 1940s, together with Stepanova, the photo albums were issued: "Cinema of our Motherland", "Kazakhstan", "Moscow", "Moscow Metropolitan", "300th anniversary of the reunification of Ukraine with Russia." In 1952, excluded from Mosch, restored in 1955.

Died from a stroke, buried at the Don Cemetery in Moscow.

Rodchenko works are in GTG, timing, MLK GMI, GMM, Moscow House of Photography, Mom, Museum of Ludwig in Cologne and other meetings.

Rodchenko was called in the middle of the 20th century by the genius of Soviet propaganda. He was a talented, creative master. Alexander Rodchenko stood at the origins of the avant-garde in the USSR. It was he who asked the newest standards for advertising and design, destroyed the old ideas about the schedule, posters, created a new course in this direction. Behind all the sides of this creative personality is such a face as a photo, and not everyone knows about it. Rodchenko knew how to catch interesting moments and create unique masterpieces.

More than photographer

In the 20s, he began to create his first works-photos Alexander Rodchenko. Photographer he was unique. At that time he worked in the theater by the artist-designer. He had the need to record work on the film, so he discovered new art, which fully fascinated him and fascinated. The main contribution of Alexander Rachenko to the development of the photo reports of the genre was the first multiple shooting of a person in action. So he collected document-shaped ideas about models. His unusual photo reports were published in all popular central publications: in the magazines "Ogonek", "Pioneer", "Radio listening", "30 days", in the newspaper "Evening Moscow".

Alexander Rachenko. Photo - Art

The visiting card of the photographer Rodchenko became pictures made from different angles (angles). With these pictures, the master entered the story. Images are made under the unusual perception of an angle, often with a unique unusual point. The perspective distorted to a certain extent, changes the perception of the usual subject. For example, the photo taken by the artist with the roofs is dynamic so that it seems that the image will begin to move. It is not surprising that such a series of pictures was first published in the journal Soviet Cinema.

Rodchenko asked such canons in photography, which took the honorable place in modern photo textbooks. So, for example, by performing a series of portraits of Mayakovsky, the photographer completely departed from the standards of ordinary pavilion shooting. But in the 1930s, some of his experiments seemed to the authorities too bold. Photograph from the bottom point of the famous "Pioneer-Trubach" some seemed to be bourgeois. The boy in this perspective was similar to a sort of "fattening" boyfriend. The artist here has not entered the framework of the proletarian photography.

Alexander Rodchenko, biography

In 1891, in St. Petersburg, Alexander Rodchenko was born in a simple, doubt family. Father called Mikhail Mikhailovich (1852-1907), he served as theatrical butaf. Mother, Olga Evdokimovna (1865-1933), worked as a launch. According to the current circumstances, the family in 1902 moves to a permanent place of residence in the city of Kazan. Here and received his first education Alexander in the Kazan parish initial school.

Alexander Rachenko (USSR, 1891-1956) was a member of the Society of "Logscliptatar" since 1919. In the 1920s, he was a member of the slave development team. In the 1920s - 1930s was a teacher as a professor on metalworking and woodwork faculties. He taught students to design multifunctional items, seek expressive forms by identifying the characteristics of the design.

Photode mode

In the 20s, Rodchenko is actively engaged in photography. To illustrate in 1923, the books of Mayakovsky "about it" he applied a photomontage. Since 1924, he became known for his psychological portraits of friends, loved ones and acquaintances ("Portrait of Mother", Mayakovsky, Tretyakov, Bric). In 1925-1926, he published an angle pictures from the "House of Mosselprom" series, "House on Myasnitskaya". Published articles about photography, where the documentary view of the world surrounding the world was advocated, defended the need to use new methods, mastering different points of view (lower, upper) in the photo. Participated in the exhibition in 1928 "Soviet Photography".

The famous Master of Photography Alexander Rachenko has been thanks to the use of various angles in photography. In 1926-1928, he worked as an artist-director in cinema ("Moscow in October", "Journalist", "Albuum"). In 1929, on the play Glebova, he designed the play "Inga" in the theater of the revolution.

30s

Alexander Rachenko, whose creativity seems to be divided into the 30s, on the one hand, is engaged in agitpoopaganda of socialism, on the other, it tries to preserve his own freedom. The photo reports of the circus created in the late 1930s are becoming a symbol. It returns during this period and to the easel painting. In the 40s, Rodchenko writes decorative compositions made in abstract expressionism.

The 30s marked the transition from early comprehensive work to the specific work of Soviet propagandism, which are completely imbued with revolutionary enthusiasm. In 1933, the photo artist was sent to the construction site, where he made many reportage pictures (about two thousand), but now only thirty is known.

Later, together with his wife Stepanova, the albums were decorated "First Horse", "15 years of Kazakhstan", "Soviet aviation", "Red Army". Since 1932, Rodchenko has been a member of the Union of Artists. In 1936 she took part in the exhibition of Masters of Soviet photo art. Regularly since 1928 sent his work at the exhibitions in the salons of France, USA, Great Britain, Spain and other countries.

Alexander Rachenko, recalling his childhood, says that when he was 14 years old, he wrote in his diary in his diary about uncertainty in life. He was sent to learn medicine, and he dreamed of becoming a real artist. In the end, at the age of 20, Alexander threw medicine and entered the art school. In 1916, he will be called up to the army, and after all, medical classes will benefit him. He will be appointed head of the household of the sanitary train instead of sending to the front.

In the 20s, Rodchenko together with his wife organized a creative union. They developed a "new life", combined many art techniques and arts. Together we designed a new model of clothing - now it is a jumpsuit. It was intended to hide gender differences between the generations of the future, to praise the work activity of the Soviet person. In 1925, the first and last trip abroad took place in the Master's life, sent to Paris. There he made the department of the USSR during the international exhibition.

last years of life

After the war, Alexander Rodchenko fell into depression, the records in his diary are only pessimistic. In 1947, he complains that life every day becomes more boring. The work with the barbury ceased to provide. Started lane launch. As the author himself said, it remains only to pray to God. In 1951, Rodchenko was excluded even from the Union of Artists, however, after four years they restored, but it was already too late, the artist stopped creating. He died in 1956, December 3. I buried Alexander Rodchenko at the Don Cemetery.