Russian avant-garde

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Kazimir Malevich, Black Square, c.1923
Alexander Rodchenko, Dance. An Objectless Composition, 1915
El Lissitzky, Beat the Whites With the Red Wedge, lithograph, 1919
Melnikov House, Moscow, 1929

The Russian avant-garde is an umbrella term used to define the large, influential wave of modern art that flourished in Russia (or more accurately, the Russian Empire and the Soviet Union) approximately 1890 to 1930 - although some place its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that occurred at the time; namely Neo-primitivism, suprematism, constructivism, and futurism. Given that many of these avant-garde artists were born or grew up in what is present day Belarus and Ukraine (including Kazimir Malevich, Aleksandra Ekster, Vladimir Tatlin, Wassily Kandinsky, David Burliuk, Alexander Archipenko), some sources also talk about Ukrainian avant-garde.

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. Notable figures from this era include:

Artists and Designers[edit]

Journals[edit]

Filmmakers[edit]

Writers[edit]

Theatre Directors[edit]

Architects[edit]

Preserving Russian avant-garde architecture has become a real concern for historians, politicians and architects. In 2007, the Modern Museum of Art MoMA in New York, devoted an exhibition entirely to the *Lost Vanguard: Soviet Architecture, featuring the work of American Photographer Richard Pare.

Composers[edit]

Many Russian composers that were interested in avant-garde music became members of the Association for Contemporary Music which was headed by Roslavets.

Main articles[edit]

External links[edit]

References[edit]

Surviving Suprematism: Lazar Khidekel. Judah L. Magnes Museum, Berkeley CA, 2004 Lazar Khidekel and Suprematism. Prestel, 2014 (Regina Khidekel, with contributions by Constantin Boym, Magdalena Dabrowski, Charlotte Douglas, Tatyana Goryacheva, Irina Karasik, Boris Kirikov and Margarita Shtiglits, and Alla Rosenfeld)