Vladimir Yevgrafovich Tatlin

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Vladimir Tatlin

Vladimir Tatlin ( Russian Владимир Евграфович Татлин , scientific. Transliteration Vladimir Evgrafovič Tatlin ; * 16 . Jul / 28. December  1885 greg. In Moscow , Russian Empire , † 31 May 1953 in Moscow, Soviet Union ) was a Russian and Soviet artists .

His paintings, but especially his three-dimensional reliefs, as well as his design for a monument for the Third International are among the most important works of the Russian avant-garde . Tatlin had a significant influence on the architecture of constructivism .

biography

Female Nude (1913)

Childhood and youth in Kharkov (1885–1910)

Vladimir Tatlin, the son of an engineer, was born in Moscow and lived in Kharkov as a child . At the age of 14 he ran away from home and spent two years as a cabin boy on a steamer. As a seaman he visited France , Syria , Turkey and Morocco .

In 1902 he attended the Penza art school. 1907-1908 he attended art classes with Mikhail Larionov .

Artistic activity in Moscow (1910–1921)

1910–11 he studied at the Institute for Painting, Sculpture and Architecture in Moscow, where he shared a studio with Alexander Wesnin .

In 1911 he met Kazimir Malevich. 1911-12 he took part in exhibitions organized by Mikhail Larionov. In 1913 he took part in an exhibition by the artist group Karo-Bube . As a dancer he visited Berlin and Paris , where he met Picasso and got to know Cubism. In 1914 he made several sea voyages.

Tatlin was also a member of the Golden Fleece , Mir iskusstwa and Donkey Tail groups .

In 1914, at the exhibition “Moscow Artists for the Victims of War”, he probably showed one of his “relief pictures” made of iron, barbed wire, cardboard and enamel for the first time. In 1915 he took part in the exhibition "First futuristic picture exhibition Tramway W" organized by Ivan Puni with his counter-reliefs, one of which he was able to sell to the art collector Sergei Schukin for the then enormous sum of 3,000 rubles. 1915-16 he exhibited at the " 0.10 " in Petrograd .

In 1916 he organized with Bruni and Tolstaja on the exhibition "Magazin". At this exhibition, pictures by Alexander Rodchenko are shown for the first time. Malevich's paintings were rejected by Tatlin.

Model for the Monument to the Third International (1919–20)

In 1917 he worked with Alexander Rodchenko and Georgi Jakulow on furnishing the “ Café Pittoresque ” in Moscow. Tatlin was the head of ISO (Fine Arts Section) of NARKOMPROS (People's Commissariat for Education). 1918-1919 or 1920 he was a professor at the First Free State Art Workshops in Moscow.

Designed in 1919 and in 1920 built the design for the monument for the Third International . The artists P. Winogradow and J. Meerson, as well as the sculptor T. Shapiro were involved in the elaboration. The monument, which never went beyond the planning phase, would very likely not have been technically feasible.

Petrograd (1921-1925)

Tatlin was a professor at the Institute for Artistic Cultures in Petrograd from 1919 to 1924 . In 1921 he moves to Petrograd. 1921-25 he was a member of the council at the Museum of Artistic Culture. In 1922 he took part in the First Russian Art Exhibition in 1922 in the Van Diemen Gallery in Berlin . In 1924 he also made clothes and an oven.

Kiev (1925–1927) and Moscow (from 1927)

1925-27 he was director of the Teakino (theater film) department of the Kiev Art Institute .

In 1927 he returned to Moscow and taught at the WChUTEIN . Around 1930 he worked on a human powered flying machine called " Letatlin ". In 1931 he visited Picasso in Paris. 1933-52 he made various sets and was involved in the construction of gliders.

Work and reception

Tatlin's work is characterized by the expressiveness typical of the Cubists and Futurists . So the dynamics of the revolution and the departure should be reflected in the work.

In particular, Tatlin emerged as the founder of machine art , which emphasized the aesthetics of technology in order to set itself apart from a romantic, bourgeois understanding of art. "Art is dead. Long live Tatlin's new machine art" - so it read on a sign in June 1920 on the occasion of the Dada exhibition First International Dada Fair . However, Tatlin wanted aesthetically meaningful machines, not machine art as the Dadaists believed. Tatlin's work also stands for terms such as dynamism , weightlessness , transparency, force and construction . His 400 m high tower project, Monument of the Third International , in particular , but also the Letatlin flying machine, bear witness to his concern.

The so-called Tatlin Tower was to become a gigantic machine that would house conference rooms, elevators, a staircase and a radio transmitter, and the column of which would be able to align itself with the stars. The ambitious architectural project was not built, but is still considered a milestone in the history of architecture.

literature

  • G. Davenport: Tatlin . New York 1974.
  • Wladimir Tatlin - Art and Technology: The Utopia of Progress . In: Markus Stegmann: Architectural Sculpture in the 20th Century. Historical aspects and work structures , Tübingen 1995, pages 74–83.
  • Simon Baier, Gian Casper Bott (eds.): Tatlin. New Art for a New World . Hatje Cantz, Ostfildern 2012, ISBN 978-3-7757-3363-2 .

Individual evidence

  1. ↑ Evgueny Kovtun: Russian Avant Garde . Parkstone Press Ltd, 2014, ISBN 1-78310-342-6 .
  2. ↑ Три яскраві епізоди з творчого життя Володимира Татліна - засновника конструктивізму. Бібліотека українського мистецтва, Retrieved November 12, 2016 (Ukrainian).
  3. ↑ a b c d e f g h i j k l m n o p tendencies of the twenties. 15th European Art Exhibition Berlin 1977 . Dietrich Reimer Verlag, Berlin 1977, p. B / 65 .
  4. ↑ a b c d e f g h Avant-garde I. Russian-Soviet architecture . Deutsche Verlags-Anstalt, Stuttgart 1991, ISBN 3-421-03018-9 , pp. 308 .
  5. ↑ a b c Wassilij Rakitin: Craftsman and Prophet. Tatlin and Malewitsch - marginalia of two artist biographies . In: The great utopia. The Russian avant-garde 1915–1932 . Schirn Kunsthalle, Frankfurt 1992, p. 18-31 .
  6. ↑ Trends of the Twenties. 15th European Art Exhibition Berlin 1977 . Dietrich Reimer Verlag, Berlin 1977, p. 1/46 .
  7. ^ A b c Selim O. Chan-Magamedow: Pioneers of Soviet architecture . VEB Verlag der Kunst, Dresden 1983, p. 64-66 .
  8. ^ Franz Gruber: Tatlins impossible tower. 3D reconstruction from poor quality images . University of Applied Arts Vienna.
  9. ↑ Hans-Peter Riese: Rettet das Individual FAZ, September 24, 1995

Web links

Commons : Vladimir Tatlin  - collection of pictures, videos and audio files
personal data
SURNAME Tatlin, Vladimir Evgrafovich
ALTERNATIVE NAMES Владимир Евграфович Татлин
BRIEF DESCRIPTION Russian painter
DATE OF BIRTH December 28, 1885
PLACE OF BIRTH Moscow
DATE OF DEATH May 31, 1953
Place of death Moscow