constructivist, n., adj.
/keuhn struk"teuh viz'euhm/, n. (sometimes cap.)
1. Fine Arts. a nonrepresentational style of art developed by a group of Russian artists principally in the early 20th century, characterized chiefly by a severely formal organization of mass, volume, and space, and by the employment of modern industrial materials. Cf. suprematism.
2. Theat. a style of scenic design characterized by abstraction, simplification, and stylization rather than realistic imitation.
[1920-25; CONSTRUCTIVE + -ISM]

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Russian movement in art and architecture, initiated in 1914 by the abstract geometric constructions of Vladimir Tatlin.

In 1920 Tatlin was joined by Antoine Pevsner and Naum Gabo. Their "Realist Manifesto," which directed their followers to "construct art," gave the movement its name. The group, soon joined by Aleksandr Rodchenko and El Lissitzky, produced abstract works reflecting modern machinery and technology, using plastic, glass, and other industrial materials. Applying the same principles to architecture, they spread the movement's ideals throughout Europe and to the U.S. after Soviet opposition dispersed the group. See also Bauhaus; De Stijl.

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Russian  Konstruktivizm 

      Russian artistic and architectural movement that was first influenced by Cubism and Futurism and is generally considered to have been initiated in 1913 with the “painting reliefs”—abstract geometric constructions—of Vladimir Tatlin (Tatlin, Vladimir Yevgrafovich). The expatriate Russian sculptors Antoine Pevsner (Pevsner, Antoine) and Naum Gabo (Gabo, Naum) joined Tatlin and his followers in Moscow, and upon publication of their jointly written Realist Manifesto in 1920 they became the spokesmen of the movement. It is from the manifesto that the name Constructivism was derived; one of the directives that it contained was “to construct” art. Because of their admiration for machines and technology, functionalism, and modern industrial materials such as plastic, steel, and glass, members of the movement were also called artist-engineers.

      Other important figures associated with Constructivism were Alexander Rodchenko (Rodchenko, Aleksandr Mikhailovich) and El Lissitzky (Lissitzky, El). Soviet opposition to the Constructivists' aesthetic radicalism resulted in the group's dispersion. Tatlin and Rodchenko remained in the Soviet Union, but Gabo and Pevsner went first to Germany and then to Paris, where they influenced the Abstract-Creation group with Constructivist theory, and later in the 1930s Gabo spread Constructivism to England and in the 1940s to the United States. Lissitzky's combination of Constructivism and Suprematism influenced the de Stijl artists and architects whom he met in Berlin, as well as the Hungarian László Moholy-Nagy (Moholy-Nagy, László), who was a professor at the Bauhaus. In both Dessau and Chicago, where because of Nazi interference the New Bauhaus was established in 1937, Moholy-Nagy disseminated Constructivist principles. See also Bauhaus; Stijl, De; Suprematism.

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Universalium. 2010.

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