Aleksandr Rodchenko

Rodchenko, Aleksandr Mikhailovich


Born Nov. 23 (Dec. 5), 1891, in St. Petersburg; died Dec. 3, 1956, in Moscow. Soviet designer, graphic artist, photographer, and theatrical and motion-picture set designer.

Rodchenko studied at the Kazan School of Art from 1910 to 1914. In the late 1910’s he exhibited his abstract compositions. He soon abandoned painting entirely and turned to production art. Rodchenko was one of the organizers of Inkhuk (Institute of Artistic Culture). From 1920 to 1930 he taught at the Moscow Vkhutemas (State Higher Arts and Technical Studios) and the Moscow Vkhutein (Higher Art and Technical Institute) as a professor of the department of woodworking and metalwork-ing; he developed special training programs for designers. As a theoretician, Rodchenko shared the contradictory goals of constructivism; he had been one of the founders of this movement in 1921. He subsequently supported LEF and actively collaborated on the journals LEF (1923–25) and Novyi LEF (1927–28). He supported the October group and was its member from 1928 to 1932.

Rodchenko’s practical art was much more fruitful and versatile. During the 1920’s his designs were applied to the newly emerging public facilities centers; his choice of materials and expressive devices were based on the principle of economy. He designed the workers’ club and its furnishings, which were exhibited at the Exposition des Arts Décoratifs in Paris in 1925. From 1923, Rodchenko worked a great deal in book and journal graphic art. In addition to the publications of LEF, he designed other journals, including Zhurnalist and SSSR na stroike. He was one of the first to utilize photomontage, which he did in V. V. Mayakovsky’s About This, published in 1923. Rodchenko designed 12 more of Mayakovsky’s books. Like Mayakovsky, Rodchenko was among the first masters of Soviet advertisement.

The distinguishing characteristics of Rodchenko’s graphic art were a clarity of concept and execution, vivid coloration, and an extreme laconism of images. The juxtaposition of lettering and images was also effective and creatively precise. Examples of his work are posters with texts by Mayakovsky and the posters for the motion pictures Cine Eye by Dziga Vertov (1924) and Battleship Potemkin by S. M. Eisenstein. During the 1920’s, Rodchenko frequently worked in the theater and motion pictures; he designed, for example, the furniture and costumes for the production of Mayakovsky’s play The Bedbug at the V. E. Meierkhol’d Theater in Moscow in 1929.

During the 1930’s, Rodchenko worked primarily as a photographer and book designer. His numerous photographic works combine an austere documentary quality and a tactile depiction with a compositional expressiveness and chiaroscuro resolution. Many of his works were done in collaboration with his wife, V. F. Stepanova (1894–1958). During the 1940’s and 1950’s, Rodchenko was a news photographer and an artist for the Museum of the Revolution of the USSR and the House of Technology in Moscow.


Abramova, A. “A. M. Rodchenko.” Iskusstvo, 1966, no. 11.
Volkov-Lannit, L. Aleksandr Rodchenko risuet, fotografiruet, sporit. [Moscow, 1968.]


References in periodicals archive ?
The range is extraordinary: The exhibition opens with Mikhail Nesterovصs giant painting of religious Russians, زThe Heart of the People,س and continues through the idealized peasants of Zinaida Serebryakova and Kuzma Petrov-Vodkin, and the decidedly non-idealised peasants of Boris Grigoriev; the sumptuous aristocratic sitting rooms of Stanislav Zhukovsky; the brilliant scenes of Jewish life by Marc Chagall; and on through cityscapes, portraits, self-portraits and still lifes until we get to the avant-garde works of Kazimir Malevich, Aleksandr Rodchenko and Lyubov Popova.
At first, artists such as Aleksandr Rodchenko, Liubov Popova, Varvara Stepanova, Aleksandr Vesnin and Alexandra Exter explored their ideas using paint and in print, alongside collage and three-dimensional structures.
On Aleksandr Rodchenkos 1933 USSR in Construction photo-essay on the White Sea-Baltic Canal, see Leah Dickerman, "The Propagandizing of Things," in Aleksandr Rodchenko, ed.
Estas palavras que Aleksandr Rodchenko colocou no seu diario como tributo confessional ao cubo-futurismo parecem ter sido escritas para incluirem tambem o aqui e agora da obra de Rodrigo Oliveira.
If Aleksandr Rodchenko is more categorically antithetical, even he shows iconic interest, though Spira overindulges a Rodchenkovian Hungarian radical named Bela Uitz, whose graphic-designy Luddite (yes
An insight into the work of the Soviet artists Aleksandr Rodchenko (1891-1956) and Liubov Popova (1889-1924) created between 1917 and 1929.
Leading practitioners of photomontage, such as Gustav Klutsis and Aleksandr Rodchenko, established the early conventions of official Soviet art, including a focus on sport.
10)--he was already famous from the films made with the Khanzhonkov studio; Aleksandr Rodchenko did not design the sets for Aelita (1924) (p.
Nor will it when we work our way through the retrospective exhibition of the work of Aleksandr Rodchenko (1891-1956) on view at the Museum of Modern Art until October 6.
And despite the fact that her interest in photography waned during her European sojourn, anyone writing about her European odyssey should study her possible contacts in Moscow with the many filmmakers and photographers who were working there--such as Aleksandr Rodchenko, the major photographer of the Russian avant-garde and a man who put his Communist loyalties above his artistic aims.
The show will travel to the Bundeskunsthalle in Bonn in March next year, and then on to Tate Modern in July, although here it will be shorn of many of the supporting figures, such as Lyubov Popova and Aleksandr Rodchenko, who bulk up the Amsterdam incarnation.
He cites a variety of social and cultural leaders, from Vissarion Belinskii to Alexander Herzen to Il'ia Repin to Aleksandr Rodchenko, detailing in particular the impact of their encounters with West Europeans.