Evgrafovich Vladimir Tatlin (1885-1953)

V. Tatlin - one of the most prominent figures of the new art 1910-20-ies., The father of constructivism; generally unique person Russian avant-garde. His life was a fanatic and ascetic life, filled her entire oeuvre.

In art it came as a nugget - almost without a serious school. In the Penza Art School (1905-10) was the basis of professional knowledge, and in the avant-garde studios in Moscow and St. Petersburg (at Mashkov , JF Tsionglinskogo, M. Bernstein, Mikhail Larionov - he especially ) scored skill.

Not studied abroad, although traveled halfway around the world sailor (a boy running away from home, a cabin boy sailed to Turkey), and this fact is reflected in the biography "Self-Portrait" (1911), but first came to Paris (1914) and visiting there by Pablo Picasso, treated him as an equal. Perhaps this slightly curious visit (Tatlin had come to Paris from Berlin, where the exhibition of Russian folk art performed the role of a blind bandura, he and Picasso played the bandura) indirectly related to the transition of the artist painting, which combined with the elements of the Larionov influence of Cubism, to " picturesque landscape "(aka" kontrrelefy "or" material fits ").

These three-dimensional abstraction of iron and wood, with glass, plaster, wallpaper, tiles ready-made things and partly processed pictorial means, the first time they were shown at an exhibition in his own studio (1914: then they were called the "synthesis-static compositions") then shows "A Streetcar B", "1915", "shop". They started the constructivist line in the Russian avant-garde, line materials, are opposed - in any case, the author - the abstract and the sign Suprematism K. Malevich . However, the winning constructivism of the 1920s. - And a utilitarian-production version of it, in the embodiment of technicist - far from the desire to listen to the organic material.

In accordance with the overall program Tatlin makes sketches dishes, clothes, and even ovens, but the model is usually utopian projects is ideas, not things. This is the "Monument to the III International" ("Tatlin Tower", 1919-20) - a symbolic embodiment of the revolutionary era, impressive, but hardly calculated to implement the synthesis of sculpture, architecture and engineering. This is the "maholet" "Letatlin" assembly which the artist worked for three years (1929-32) in the tower of the Novodevichy Convent (the image of the tower is like Tatlin - his first studio in Moscow, too, was called "Tower") - the design is natural and aesthetically striking reminiscent of the drawings of Leonardo da Vinci, the artist does not doubt its aeronautic capabilities and the first test was planning to spend with his young son.

In the 1920s. Tatlin active in the People's Commissariat (1919-23, Initiator "museums of art culture," a member of the Museum's curator of art education and the reform of monumental propaganda) and INKhuK (1923-24, Head of Material Culture), teaches at the Kiev Art Institute (photos -theatrical department, 1925-27) and in Vhuteine ​​(Department of wood and ceramics, 1927-30).