WChUTEMAS

Former Wchutemas building in Moscow

The VKhUTEMAS ( Russian ВХУТЕМАС , acronym from В ысшие ху дожественно- те хнические мас терские (Wysschije Chudoschestwenno Technitscheskije Masterskije) to German Higher Artistic-Technical Institute ), 1927 VKhUTEIN (Russian ВХУТЕИН , acronym В ысший ху дожественно- те хнический ин ститут (Wysschi Chudoschestwenno Technitscheski Institut), German Higher Artistic-Technical Institute ) was a state art college in Moscow from 1920 to 1930 . It was dedicated to the ideas of the Russian avant-garde , for some time was considered the most progressive art school in the world and a pioneer of constructivism . The Bauhaus in Germany was strongly influenced by this school, which offered lessons in sculpture, printing, textile and ceramic design, painting, and metal and woodworking. From 1927 to 1930 it was run as WChUTEIN. It was dissolved in 1930 when the avant-garde was pushed back by socialist realism .

history

Architecture Wchutemas , book cover by El Lissitzky (1927)

With the establishment of the Russian Federal Soviet Socialist Republic (RSFSR) in 1918, academies or art and trade schools were converted into state independent art workshops , Swomas for short or SGChM (Russian Свободные художественные мастерские ). In the SGChM the students had the right to choose their teachers themselves. All artists and architects could run a workshop for this purpose. These free art workshops were formed in St. Petersburg , Kazan , Saratov , Odessa , Kharkov and Vitebsk , among others .

In Moscow, the Stroganov School of Art and Technology grew out of theFirst State Free Art Workshops and from the Moscow School of Painting, Sculpture and Architecture (MUSchWS) the Second State Free Art Workshops . At the second SGChM, Ivan Scholtowski , Alexei Shtushev and I. Rylski headed individual workshops that were classicist. Towards the end of the second year of study (1919/20) a group of students ( Viktor Balichin , S. Motschalow, Nikolai Krassilnikow ) formed against the classicists. The students were particularly influenced by the Schiwskulptarch (commission for the synthesis of sculpture and architecture). The "left workshop" was formed from the ski sculptor and the students.

At the same time as this split within the second SGChM, they were merged with the first SGChM on December 19, 1920 by decree of the Soviet government to form the “State Higher Artistic-Technical Workshops” (WChUTEMAS).

On March 4, 1927, the WChUTEMAS were renamed WChUTEIN.

In 1930 the school was closed. The painting and sculpture department was merged with the corresponding Petersburg institution to form the Institute of Proletarian Performing Arts (since 1932 Institute for Painting, Sculpture and Architecture ). The architecture department was incorporated into the new Higher Architecture and Construction Institute ( Moscow Architecture Institute from 1933 ).

Art historical importance

The specialty of these new workshops was the combination of the fine arts - painting and sculpture - with the so-called production arts - architecture , printing, metal and woodworking , textiles and ceramics.

The artistic-technical workshops were comparable in terms of objectives, tasks and organization to the Bauhaus existing in the same period . They should combine the handicraft tradition with modern technologies and prepare the integration of the arts into the production.

construction

Faculties

The WChUTEMAS were divided into eight faculties: three art workshops and five production workshops. The art workshops were:

• Painting (panel, monumental and decorative painting)
• sculpture
• Architecture; Right at the beginning of the WChUTEMAS, between 1920 and 1923, three different and competing training concepts emerged within the architecture faculty:
  • The traditionally working academic workshops , the teaching of which hardly differed significantly from the previous academy training.
  • The United Left Workshops ( OBMAS ), which worked according to Nikolai Ladowski's psychoanalytic method.
  • The experimental architecture workshop , which was based on Ilya Golossov's theories of the structure of architectural organisms.

The production workshops were divided into:

• Metal-
• Wood-
• Ceramic
• textile
• Printmaking workshop

The metal and wood workshops were later merged under the direction of Alexander Rodtschenko and El Lissitzky .

Basic section

From 1923 the course consisted of an overarching basic course for all students, the basic section , comparable to the preliminary course at the Bauhaus. This basic training should be artistic, scientific-technical, as well as social-scientific-political. The duration of the basic section was initially two years, from 1926 only one year. Elementary deans were Konstantin Istomin (1923–26), Wiktor Toot (1926–28) and Wiktor Balichin (1928–30).

Teaching staff and students

Rectors: Efim Rawdel (1920–23), Wladimir Faworski (1923–26), Pawel Novizki (1926–30)

The information on the activity was taken from the French source as follows: professeur = professor, maître-assistant = lecturer, assistant = assistant, lecteur = speaker.

Teaching staff Hinnerk Scheper (1897–1957), color design in architecture (1929–1931) Alexei Babitschew (1887–1963), professor of sculpture 1920–30 Wiktor Balichin (1893–1953), assistant 1923–29 Andrei Burow (1900–1957), assistant 1925–27 Lew Bruni (1894–1948), lecturer 1924–30 Nikolai Dokuchayev (1891–1944), professor of architecture 1920–30 Alexander Drewin (1889–1938), lecturer 1920–30 Ivan Efimow (1978-1959), 1920-30 Alexandra Exter (1882-1949), 1920-21 Vadim Falileev (1879–1950), 1920–24 Robert Falk (1886–1958), professor of painting 1920–28 Vladimir Faworski (1886–1964), 1920–30 Alexei Filippow (1882-1956), 1920-23, 1927-29 Moissei Ginsburg (1892–1946), teacher 1922–30 Ilja Golossow (1883–1945), professor of architecture 1920–30 Anna Golubkina (1864-1927), 1920-22 Oskar Grjun (1874-1935), 1920-30 Sergei Gerasimow (1885–1964), 1921–30 Konstantin Istomin (1887–1942), professor 1921–30 Wassily Kandinsky (1866-1944), 1920-21 Dimitri Kardowski (1866-1943), 1920-30 Gustavs Klucis (1895–1938), 1924–30 Nikolai Kuprejanow (1894–1933), 1922–29 Alexander Kuprin (1880-1960), 1923-30 Pavel Kuznetsov (1878–1968), 1920–30 Wladimir Krinski (1890–1971), professor of architecture 1920–30 Nikolai Ladowski (1881–1941), professor of architecture 1920–30 Anton Lawinski (1893–1968), professor of sculpture 1920–26 Ivan Leonidow (1902-1959), 1927-30 El Lissitzky (1890–1941), speaker 1921, professor 1926–30 Konstantin Melnikow (1890–1974), professor of architecture 1920–24, 1927–30 Pyotr Mituritsch (1887-1956), 1924-29 Dimitri Moor (1883–1946), 1929–30 Wera Muchina (1889–1953), 1924–29 Nina Niss-Goldman (1892–1990), teacher 1920– Ignaz Niwinski (1881-1933), 1921-30 Pawel Nowitzki (1888–1971), before 1926–1930 Nadeschda Udalzowa (1886–1961), 1920–30 Oksane Pawlenko (1895–), Professor of Ceramics 1929–30 Pawel Pawlinow (1881-1966), 1921-30 Ivan Pavlov (1872-1951), 1920-22 Nikolai Piskarjew (1892-1959), 1921-30 Lyubow Popowa (1889–1924), professor of painting 1920–24 Isaak Rabinowitsch (1894–1961), 1925–30 Mikhail Rodionov (1885-1956), 1925-30 Alexander Rodchenko (1891–1956), professor of painting 1920–30 Nikolas Schewerdiajew (1887–1952), 1922–30 Alexander Shevchenko (1882–1948), 1920–30 Dawid Schterenberg (1881–1948), 1920–30 Alexei Shtusev (1873–1949), 1924–30 Iwan Scholtowski (1867–1959), Professor of Architecture 1920–23 Varvara Stepanova (1894–1958), 1924–25 Vladimir Tatlin (1885–1953), 1927–30 Iossif Tschajkow (1888–1979), 1923–30 Nikolai Tschernichew (1885–1973), 1920–30 Sergei Tschernichew (1881–1963), 1920–30 Wiktor Toot (1893-1963), 1924-30 Béla Uitz (1887–1972), professor of painting 1926 – after 1929 Alexander Wesnin (1883–1959), professor of painting and architecture 1921–30 Leonid Wesnin (1880–1933), professor of architecture 1920–30

Known students Michail Adrianow (1907–), studied until 1930 Kirill Afanasjew (1909–2002), studied until 1929 Karo Alabjan (1897–1963), studied until 1929 Pawel Alexandrow (1909–1968), studied until 1930 Alexander Alimow (1903–), studied until 1930 Arkadi Arkin (1904–), studied until 1927 Wiktor Balichin (1893–1953), studied until 1924 Michail Barschtsch (1904–1976), studied until 1926 Nikolai Besseda (1910–), studied until 1928 Boris Blochin (1900–1966), studied until 1927 Iwan Bolbaschewski (1897–1975), studied until 1929 Georgi Borissowski (1907–), studied until 1930 Pjotr ​​Budo (1903–1942), studied until 1930 Andrei Bunin (1905–1977), studied until 1930 Andrei Burow (1900–1957), studied until 1925 Abram Damski (1906–1988), studies Jossif Dlugatsch (1902–1941), studied until 1930 Vitali Dolganow (1901–1969), studied until 1929 Awraam Faifel (1896–1967), studied until 1929 Pantelejmon Fedulow (life data unknown), studied until 1930 Isidor Franzus (1896–1990), studied until 1926 Alexander Fufayew (1894–1967), studied until 1925 Alexander Galaktianow (1905–1975), studied until 1929 Pyotr Galaktianow (1906–1967), studied until 1929 Semjon Gelfeld (1898–1976), studied until 1928 Sergei Glagoljew (1893–1968), studied until 1926 Gleb Gluschtschenko (1901–1967), studied until 1928 Georgi Goltz (1893–1946), studied until 1922 Jossif Gruschenko (1900–1965), studied until 1928 Nikolai Gundorow (1895–1973), studied until 1927 Wiktor Kalmykow (1908–1981), studied until 1930 Alexander Karra (1904–1944), studied until 1927 Gustavs Klucis (1895–1938), studied until 1921 Konstantin Knjasew (1904–), studied 1922– Gevorg Kochar (1901–1973), studied 1920–26 Lidija Komarowa (1902–2002), studied until 1929 Nikolai Kolli (1894–1966), studied until 1922 Jakow Kornfeld (1896–1962), studied 1921–24 Michail Korschew (1897–1986), studied until 1926 Nikolai Krassilnikow (1899–), studied until 1928 Iwan Kusmin (1903–1984), studied until 1930 Iwan Lamzow (1899–1990), studied until 1926 Vitaly Lavrov (1902–), studied until 1928 Ivan Leonidow (1902–1959), studied 1921–27 Michail Lifschitz (1905–1983) studied 1923–1929 Solomon Lisagor (1898–1938), studied until 1928 Berthold Lubetkin (1901–1990), studied Alexander Maschinski (1902–), studied until 1930 Wassili Makaschow (1891–1942), studied until 1924 Ignati Milinis (1899–1974), studied 1927–29 Viktor Petrov (dates unknown), studies Michail Sinjawski (1895–1979), studied until 1926 Nikolai Sokolow (1904–1990), studied 1925–30 Nikolai Trawin (1898–1975), studied until 1929 Michail Turkus (1896–1991), studied until 1927 Nikolai Umanski (1900–1976), studied 1921–27 Sergei Wachtangow (1907–1987), studied until 1930 Wjacheslav Vladimirov (1898–1942), studied 1920–22 Georgi Zimin (1900–1985), studied 1921–

Exhibitions

• 2014/2015: WChUTEMAS - A Russian laboratory of modernity. Architectural drafts 1920 - 1930. , Martin-Gropius-Bau , Berlin .

literature

• Selim Khan-Magomedov: Vhutemas. Moscou 1920-1930 . 2 volumes. Paris, Editions du Regard 1990 (French), ISBN 2-903370-55-9
• Selim Chan-Magomedov: pioneers of Soviet architecture. The road to new Soviet architecture in the twenties and early thirties . Dresden, Verlag der Kunst 1988, ISBN 3-364-00137-5 , pp. 71–73.
• Christina Lodder: The VKhUTEMAS and the Bauhaus In: Gail Harrison Roman (Ed.): The Avant-Garde Frontier. Russia Meets the West 1910-1930 . University Press of Florida, Gainesville FL 1992, ISBN 0-8130-1157-4 , pp. 196-237 (English)
• Natalja Adaskina: The role of WCHUTEMAS in the Russian avant-garde In: Bettina-Martine Wolter, Bernhart Schwenk (ed.): The great utopia. The Russian avant-garde 1915-1932 . Exhibition catalog Schirn Kunsthalle , Frankfurt 1992, pp. 81–93
• Lidia K. Komarowa: WCHUTEMAS / WCHUTEIN - The architecture workshop of AA Wesnin . In: Scientific journal of the Weimar University of Architecture and Construction . 29th year, no. 5/6 , 1983, pp. 501-504 .

Web links

• German website for the WChUTEMAS
• Exhibition about the WChUTEMAS in Florence 2005 (English)
• Projects and works of WChUTEMAS on the website of the Moscow Architecture Institute
• WChUTEMAS on the website leftdesign.ru (Russian)

Individual evidence

1. ↑ Article WChUTEMAS in the Great Soviet Encyclopedia (BSE) , 3rd edition 1969–1978 (Russian)http: //vorlage_gse.test/1%3D007304~2a%3D~2b%3DWChUTEMAS
2. ↑ Article Wchutein in the Great Soviet Encyclopedia (BSE) , 3rd edition 1969–1978 (Russian)http: //vorlage_gse.test/1%3D007303~2a%3DWchutein~2b%3DWchutein
3. ^ The Century of Extremes The Art of Classical Modernism Hans Dieter Huber Rough and Ready 2010 p. 79 and p. 80
4. ↑ ^{a b c d e f} Selim O. Chan-Magamedow: Pioneers of Soviet architecture . VEB Verlag der Kunst, Dresden 1983, p. 71-73 .
5. ↑ Article Swobodnye chudozestvennyye masterskije in the Great Soviet Encyclopedia (BSE) , 3rd edition 1969–1978 (Russian)http: //vorlage_gse.test/1%3D100364~2a%3DSwobodnyje%20chudoschestwennyje%20masterskije~2b%3DSwobodnyje%20chudoschestwennyje%20masterskije
6. ↑ ^{a b c d} Barbara Kreis: Between »Living Classics«, Rationalism and Constructivism. The "Higher Artistic-Technical Workshops" WCHUTEMAS in Moscow 1920–1930 . In: Education in Europe - Teaching and Learning to Design . S. 656 ff .
7. ↑ ^{a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf} S. O. Khan-Magomedov: VHUTEMAS. Moscou 1920-1930 . tape 1 . Editions du Regard, 1990, p. 224-226, 245-246, 311 ff .
8. ↑ Hinnerk Scheper color designer, photographer, monument conservationist Edited by Renate Scheper Verlag, paragraph 6, quickly
9. ↑ Artist Toot Viktor Sigizmundovich. Retrieved January 22, 2019 . 
10. ^ John Kish, Sylvia Bakos: The Hungarian Avant-garde 1914-1933. A Loan Exhibition with Selections from The Paul K. Kovesdy Collection . William Benton Museum of Art, 1987, p. 63 .
11. ^ Announcement on the exhibition , accessed on November 18, 2014.