Alexandre Rodtchenko and his style custom essay
Rodtchenko is not an ordinary photographer, but many-sided artist, who always tried to attain maximal visual expressiveness, completeness and integrity. He operates, foremost, by visualizations, visual facilities of composition. According to his opinion, composition it is the conscious system of placing of elements, influencing through a number of accents: light, shade, form, structure of image. Rodtchenko saw the objects it is underline structurally – whether it belongs to the portraits or experimental picture, to the genre or sporting surveys. Ash emphasized that “the constructivism of vision and rangeability of thought were drawn by him from his picturesque works in 1917 – 1921 years.”5 However, much Rodtchenko didn’t dwell thereon. He developed photographic composition farther, adding sense of space depth and objectivity of photographic fact.
Discussing Rodtchenko’s works destination it is necessary to note that works of Rodtchenko were included in the art of picture through a print. In the second half of 20th century it was published more than one hundred of his pictures. Natural, that they had influence on a process picture, caused mass of responses, from confession to sharp non-acceptance. «Portrait of mother», in which is find simplicity, psychology, realisticness of manner. Thus, one works of master were naturally included in the cultural situation of 20th century, other caused the revision of usual criteria of estimation, as, for example, foreshortening picture «House on Myasnickaya street», done in the autumn of 1925.
I want to once more remind that a picture became one of the privileged methods of expression for constructivism – this fact is well-known. But yet shortly before it a self word «picture» personified all that, what front-rank, radical art does not wish to be.
5. Ash, Jared and others. The Russian Avant-Garde Book 1910-1934. 2002.
A picture equated with the superficial, mechanical printing-down of reality, concentrating in itself worst qualities of traditional art. A avant-garde matched against it, from one side; research of language of art in his no interaction and «opacity», from other – ideology of free form activity, unreserved a necessity to represent the present system of things. Within the framework of this ideology conception of life building was formed, that does the problem of convergence of avant-garde and picture especially intriguing. «Point of view» of Rodtchenko, as well as from where he showed the world, defined the artistic innovation of master, aesthetics of his pictures. The same «point of view» became one of central that polemic in the photographic press of end 1920th are beginnings of 1930th and served the main direction of many reasons of Rodtchenko about a picture.
Thus, taking into account all above mentioned it is necessary to make a conclusion that contribution of Rodtchenko to the soviet and world photographic art it is impossible to over-estimate today. A man is scalene talented, leaving track in many, so different areas of culture, Alexandre Rodtchenko brought in a picture in truth an invaluable deposit. Looking over in a young art yet not opened, by nobody the not found out possibilities, he pawned bases of modern photo-report.
As for every earliest explorer, he had failures. He often and sometimes was criticized sharply. As we understand now, far not always justly. Creation of Alexandre Rodtchenko forever entered in history of soviet and world picture. And herein is the best confession of his talent. It is known that his manner of survey and increased attention to textures at one time adopted by young Helmut Newtone. Sure, there is a great deal, what can learn from the pictures of Rodtchenko: it and unexpected application of foreshortening, and highly artistic use of natural and artificial rhythmic of images. In his creation you will find the elements of producer (raising) portraits and able use of photomontage in advertising, and master transmission of prospect and volume on a plane. Rodtchenko not simply found the style, he, out of doubt, had influence on style of all Soviet epoch. Obviously, in foundation of success of Rodtchenko in a photographic art lie five constituents: creative environment of his family (a father was a theatrical property-man), artistic education (Kazanskaya artistic school), talent, great labor and claimed by time. It is known that many masterpieces give birth on the joint of arts, on the joint of professions and specializations. Besides the picture of Rodtchenko constantly engaged in painting, graphic arts, spatial constructions, he developed original furniture, sceneries and suits. Analyzing details of Rotdchenko’s way to the photography we see that it was not an easy way, but I think that person with a great wish to be successful in something and like own hobby will do all possible and impossible with the purpose to achieve own aim. Today there are many photographers, whose pictures, yet not giving birth, become old and languid, because they initially on something apply, initially contain far-fetched, unapt for life concept. But a fervor reigns in works of Rodtchenko, life seethes in all its displays. Perhaps, there is not that genre, in which Rodtchenko did not create a masterpiece. His pictures demonstrate boundlessness of approaches and disorderly conduct of ideas till today.
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