Vladimir Tatlin

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Tatlin, Vladimir Evgrafovich


Born Dec. 16 (28), 1885, in Moscow; died there May 31, 1953. Soviet painter, graphic artist, and stage designer.

Tatlin studied under V. A. Serov and K. A. Korovin at the Moscow School of Painting, Sculpture, and Architecture in 1902–03 and 1909–10 and attended the Penza Art School from 1904 to 1909. From 1918 to 1921 he taught at the Moscow Vkhutemas (State Higher Arts and Technical Studios) and from 1927 to 1930 at the Moscow Vkhutein (State Higher Arts and Technical Institute). He taught at the Petrograd Academy of Arts from 1921 to 1925 and at the Kiev Art Institute from 1925 to 1927.

Denying realistic representation in art, Tatlin originally worked in the styles of cubism and futurism, as seen in The Model (1913, Tret’iakov Gallery, Moscow). In Soviet times, however, he tended more toward constructivism. He designed structures of glass, metal, and wood in the 1920’s and abandoned his experimentation with formal art, which had led him only to the blind alley of abstract art. He designed consumer goods for mass production and participated in the production arts movement. Tatlin helped introduce modern design in the USSR, creating plans for the ornithopter Letatlin (“Flying Tatlin,” 1930–31, Museum of the History of Aviation, Moscow), as well as furniture, ceramic ware, and clothing. He also designed a monument to the Third International (tower of iron, glass, wood; not preserved). He designed more than 80 theatrical productions, including Ostrovskii’s Comedian of the 17th Century (1935, Second Moscow Academic Art Theater) and A. A. Kron’s Distant Reconnaissance (1943, Moscow Academic Art Theater).

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The works include canvases by some recognized classical artists like Kazimir Malevich, Wassily Kandinsky, Alexander Rodchenko, Vladimir Tatlin, Alexandra Exter, Marc Chagall, as wel as Victor Bart, Alexei Grischenko, Alexei Morgunov, Sergei Romanovich, Pavel Mansurov and other figures known for their contribution to avant-garde art.
The exhibition traces the connections between the revolutionary pioneers of the early 20th century, including Vladimir Tatlin, Alexander Rodchenko and Mikhail Matyushin, with the creations of the artists of the second avant-garde wave, such as Vyacheslav Koleichuk, Francisco Infante-Arana, Rimma Zanevskaya-Sapgir, and Mikhail Roginsky amongst others.
Who painted the famous 1925 work, Les Perruches (The Parrots): Jean Dupas; Vladimir Tatlin; Kurt Schwitter; Lajos Kassak?
All highlight the twenty-three-year-old Eisenstein competing as an equal with other major contemporaries, including Vladimir Tatlin, Alexandra Exter, and Alexander Vesnin, who were active in Russian stagecraft during the early '20s.
But where Malevich championed a mystical art of pure feeling, Vladimir Tatlin, the theoretician behind Constructivism, advocated that work should be dedicated to the utilitarian requirements of Communism.
The ballet opens with a lonesome Siegfried (Victor Zarallo) dwarfed by the architecture of a tower, reminiscent of Vladimir Tatlin's Monument to the Third International, designed in 1919 but never realised.
Vladimir Tatlin's unrealized "Monument to the Third International" (1919), a spiraling structure designed to commemorate the Russian Revolution and house the Comintern headquarters, has since been romanticized as a symbol for utopian Soviet ideals.
The 32 works by Chagall appear alongside those of other visionaries of Russian modernism, including Wassily Kandinsky, Kasimir Malevich, Natalia Goncharova, Sonia Delaunay, and Vladimir Tatlin.
This might evoke some sense of mysticism or echo the impossible aspiration of the Soviet constructivist Vladimir Tatlin for his tower.
Early in his career as he sought to find an appropriate visual language with which to confront his position toward South African politics, Kentridge turned to Constructivist artists of postrevolutionary Russia such as Vladimir Tatlin and Kazimir Malevich, who had embraced abstraction to express their utopianism.
This ungainly object, a sprawling steel gadget a few metres taller than the Statue of Liberty, immediately set off a search for comparisons in the public press: a crashed version of the Eiffel Tower, a whirligig or helter skelter from a fun fair, a recycled version of Vladimir Tatlin's unbuilt monument for the Third International (1920) with its spiralling structure and revolving chambers.