|Artist / Origin||
Aleksandr (Alexander) Mikhailovich Rodchenko, (Russian, 1891–1956)
Region: Russia, Central and North Asia
Period: 1900 CE - 2010 CE
|Location||Rodchenko Archive, Moscow, Russia|
|Credit||© Estate of Alexander Rodchenko/RAO, Moscow/VAGA, New York. Courtesy of SCALA/Art Resource, NY|
|Jane Ashton SharpAssociate Professor of Art History, Rutgers University|
“Aleksandr Rodchenko (June 25–October 6, 1998).” In Exhibitions & The Collection. Museum of Modern Art (MoMA) Web site. http://www.moma.org/explore/exhibitions.
Eskilson, Stephen. Graphic Design: A New History. New Haven: Yale University Press, 2007.
Fer, Briony, et al. Realism, Rationalism, Surrealism: Art between the Wars. New Haven and London: Yale University Press and The Open University, 1993.
Margolin, Victor. The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917–1946. Chicago: University of Chicago Press, 1998.
Tupitsyn, Margarita, ed. Rodchenko and Popova: Defining Constructivism. London: Tate Publishing, 2009.
The 1917 Russian Revolution overthrew the Czarist monarchy in favor of a collective, utopian Communist system.
This political shift was accompanied by dramatic changes in Russian art production. The kind of individual expression associated with fine arts came to seem bourgeois and incompatible with the lifestyle and values advocated by Communism. In response, a group of artists known as Constructivists set out to reconceive the role of art in society; they demystified it by establishing rigorous guidelines, renounced traditional media, and emphasized the notion of art in service of the proletariat.
Aleksandr Rodchenko was one of the leading artists in the post-revolutionary era. Although formally trained in painting and sculpture, he devoted himself to photography and graphic design. In this 1924 poster, Rodchenko combines the two media in an image that is mechanical and linear. The text, in big block letters, is clear and legible; no flourish of the artist’s hand is evident. The photograph of a woman who appears to be calling out the Russian word for “books” is Lilya Brik, a fellow member of the Constructivist circle. Her image has been manipulated and integrated into the bold design. The aesthetic of immediate communication exemplified by Rodchenko’s poster was characteristic of official Soviet art of the period and was in use not only for posters, but also for political journals, book covers, and other kinds of propaganda. Through images that were visually arresting and easily accessible, Rodchenko and his colleagues believed that they could best convey the messages of the Communist state to the masses.