Constructivism art movement gustav klutsis posters

  • Soviet constructivist poster from by Gustav Klutsis, 'We'll fulfill the plan of great endeavors' by Gustav Klutsis as fine art print.
  • This collection reveals Klutsis' gradual, visual shift away from Constructivism, toward depictions coinciding with the adoption of “Socialist Realism” as the.
  • Klutsis' We Will Repay the Coal Debt is one of many posters he designed as propaganda for the first Five Year Plan—Stalin's drive to industrialize the nation.

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    Soviet constructivist poster from by gustav klutsis, &#;we&#;ll fulfill the plan of great endeavors&#;

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    Known as the father of Soviet photomontage, Gustav Klutsis () was one of the most influential photographers and revolutionaries of the Soviet era and a key figure of Constructivist art. Born in Latvia, Klutsis wad drafted into the Russian army in and participated in the overthrow of the Tsar two years later. At the age of twenty-two, he moved to Moscow and began his studies at the state-run art and technical school VKhuTEMAS under Kazimir Malevich and Antoine Pevsner.

    Throughout the s and s, Klutsis, alongside his wife and collaborator Valentina Kulagina, worked as an artist for the Soviet State, producing photomontages, collages, posters, and books, and breaking new ground in the fields of typography, design, and color theory. His work was exhibited internationally at the First Russian Art Exhibition in Berlin in and at the Soviet Pavilion of the Pressa Exhibition in Cologne in  The extraordinary range of his work and the extent of his influe

  • constructivism art movement gustav klutsis posters

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    Klutsis propaganda poster

    Soviet Art Propaganda: From Self Expression to Political Communication

    To trace the biographical lines of the production, style, reach and impact of artist Gustav Klutsis’ propaganda posters, such as “Under the Banner of Lenin,” is to follow the development of a Soviet cultural production engine which transformed the meaning of art and the way society experienced it. The prominence of agitprop posters was a reflection of the Soviet initiative to infuse a communist mindset in every Soviet citizen. Soviet leadership had a hand in crafting the artistic agenda of the era; they also set up an art school and publishing house to bring the cultivation and production of art beneath their control. In this way, they pooled artistic resources into a Soviet artistic propaganda campaign, bygd which art transitioned from being a form of personal expression to a means of state communication, and bygd which the artist acted as a tool rather than a source of human meaning