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(State Higher Arts and Technical Studios), an educational institution in Moscow. Vkhutemas was founded in 1920 by decree of the Soviet government as “a special artistic higher technical and industrial educational institution for training highly qualified master artists for industry as well as designers and directors for trade and technical schools” (Collected Laws and Regulations of the Government of Workers and Peasants, Dec. 19, 1920, no. 98, art. 522, p. 540). It was formed by merging the first and second Moscow Free Art Studios. It included an art department (painting, sculpture, and architecture) and an industrial department (printing, textile, ceramics, woodworking, and metalworking). Actually, Vkhutemas’ main function was to train easel painters and architects. At the same time, the industrial departments were given the task of training new kinds of artists, able to work with the traditional forms of plastic arts and to create the entire environment of objects surrounding men, including objects of everyday life and work tools.

Vkhutemas and the educational, architectural, and artistic Bauhaus association in Germany were the first in the world to create the principles of a system that evolved later for training artist-designers. An important part of the new teaching method was the introductory (preliminary) course. Developed in Vkhutemas, it was compulsory for all students, regardless of their future specialty, and based on a combination of scientific and artistic disciplines. The introductory course was designed to teach the students the language of plastic art forms and the laws of the formation of shapes and colors (including drawing as the basis of plastic arts, as well as color study, disciplines investigating the relationships of color and form, and the study of the principles of construction of spatial composition). The creators of the course—V. A. Favorskii, P. la. Pavlinov, K. N. Istomin, I. M. Chaikov, N. A. Ladovskii, and others—believed that the laws of the formation of shapes and colors applied equally to the fine arts and the artistic designing of objects for everyday use and for use in technology. The introductory courses later became compulsory throughout the world in training artist-designers.

Thorough training in the introductory course was combined with subsequent specialization in departments of the student’s choice. In industrial departments plans for convertible furniture (armchair-beds, closet-tables, and so forth), dishes for mass production, lamps, and other goods were developed. Among the Vkhutemas instructors were easel painters, who continuted the traditions of the Russian art school of the prerevolutionary decades (primarily the Moscow School of Painting, Sculpture, and Architecture—A. E. Arkhipov, P. V. Kuznetsov, I. I. Mashkov, and others—as well as D. N. Kardovskii, who taught at the Higher Art School of the St. Petersburg Academy of Arts from 1903 to 1918). There were also representatives of industrial art, including A. M. Rodchenko and V. E. Tallin.

The industrial departments put into practice the theoretical views of the “industrialists,” who identified artistic creation with the production of socially and functionally useful things. In their opinion, these things should determine the character of the entire everyday environment in a socialist society. Such identification led a number of Vkhutemas instructors to deny in their teaching in various departments the imaginative nature and cognitive role of art and to repudiate art’s traditional (chiefly its easel) forms. (They did this primarily in journalistic articles.)

On Feb. 25, 1921, V. I. Lenin visited the Vkhutemas residential quarters, chatted with the students about study and art, and made critical comments on the futuristic enthusiasm of some of them. In 1926, Vkhutemas was reorganized into Vkhutein (State Higher Institute of Art and Technology).


Arkhitektura: Raboty arkhitekturnogo fakul’teta Vkhutemasa. Moscow, 1927.
Abramova, A. “Nasledie Vkhutemasa.” Dekorativnoe isskustvo SSSR, 1964, no. 4.
Krupskaia, N. K. O Lenine: Sbornik statei i vystuplenii. [Moscow, 1965.] Page 95.
Marts, L. “Propedevticheskii kurs Vkhutemasa-Vkhuteina.” Tekhnicheskaia estetika, 1968, nos. 2, 4, 12; 1969, no. 4.
Zhadova, L. “Vkhutemas-Vkhutein.” Dekorativnoe iskusstvo SSSR, 1970, no. 11.
Khazanova, V. “Vkhutemas-Vkhutein.” AD, 1970, Feb., 7/6, pp. 80-81.


References in periodicals archive ?
En arquitectura, con la inauguracion de los Vkhutemas introdujeron novedosas pedagogias y dieron la bienvenida tanto a alumnas, que obtuvieron su diploma de arquitectas, como a otras mujeres con experiencia en artes, invitadas a unirse al cuerpo docente.
3) En todo caso, "La Bauhaus junto con los Vkhutemas, eran las unicas instituciones de alto nivel para la educacion en arte y diseno de la epoca".
A pesar de que todavia no poseia un corpus teorico solido sobre el que soportar su actividad, ni un tipo especifico de profesional que la ejerciera, fueron dos escuelas en estas dos Naciones las que dictaron el inicio de la disciplina del diseno; asi que la mitica Escuela de la Bauhaus y la menos conocida Vkhutemas bolchevique trataron de dar caracter artistico a las artesanias y a los oficios, ensenando a disenar a partir del arte.
Esta definicion elevo al estatus de obra de arte a los objetos y de artista a su creador, asi hasta un obrero podria tener una obra de arte moderno sin necesidad de gastar una fortuna; este ideal socialista, guio toda la produccion artistica-objetual de la epoca desde la Alemania republicana de posguerra con la Bauhaus hasta la revolucionaria Rusia con los Vkhutemas (4) cuya labor principal era formar artistas para la industria (figura 3).
In terms of the Modernist way of teaching, in particular Vysshiye Khudozhestvenno-Tekhnicheskiye Masterskiye (hereafter VKhUTEMAS, which can be translated as "Higher Art and Technical Studios") and Bauhaus, are two specific places to unfold about these objective standards of experimentation.
The reflections of Modern Architecture on education in the early 20th century came from two main sources: Bauhaus and the VKhUTEMAS.
At the Graham Foundation, the Lautner series appeared as "Model Studies: Thomas Demand with Fernand Leger, Francis Bruguiere, Thomas Scheibitz, and the VKhUTEMAS School.
Like Leger's tentative rearranging of the human form, VKhUTEMAS and Bruguiere's faith in photography's promise of unexpected insight, and Lautner's architectural proposals, Demand's work could in fact be said to light on historical junctures as such--points at which multiple futures were possible.
Part 1 of Morozov's revisionist history of continuity within the field of Soviet artistic development foregrounds four theoretical bases of realism in Russia--that of the Peredvizhniki, often described as Critical Realism; the West-European influenced Russian Impressionism characteristic of artists such as Valentin Serov and Konstantin Korovin; the Cezannist approach to color and form epitomized by Petr Konchalovskii; and the "lost generation" of Vkhutemas graduates--Roitenberg's Pleiades--whose "rediscovery" in the 1960s contributed to a late flowering of Soviet art that Morozov dubs the "Pensioners' Renaissance" (134).
Born in 1933 in Ukraine, Ilya Kabakov began his artistic training at Leningrad's Institute of Painting, Sculpture and Architecture and later gained admittance to the Surikov Institute of Art in Moscow, known for a brief period after the revolution as VKhUTEMAS (the Free State Art Studios).
At last, one possessed an overall map by which to navigate all the odd acronyms from OBMOKhU and VKhUTEMAS to AKhRR and RAKhN.
And there is in both Hebrew school and VKhUTEMAS something of the cult that the Whitney's detractors accuse it of being.