Essay
http://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/302.jpg
picture of the thing it is on.
Charli Collier
VISC 1B01, section 3
Culture, History and Ideas
Writing Assignment
Vladimir Tatlin,
Project for the Monument to the Third international (1919-20)
“Real materials in real space” (3), a philosophy Vladimir Tatlin used to design the Monument to the Third International in 1919 to 1920. Traditionally, sculptures were viewed a mass that had been created by only the material. When Tatlin introduced the use of space as a compositional element, it changed the way modern sculptures were to be created and perceived (7). The Monument was made at a time of many technical advances and social changes, including; photography, factory production as an affect of the Industrial Revolution, the Russian Communist (Bolshevist) Revolution (1917), the invention of metal framing for building, and a rejection of classical traditions of European art with more modern movements such as Art Nouveau and Constructivism. Most of these. had an effect on Tatlin and the production of his Monument to the Third International.
The Crystal Palace constructed in London in 1851; the Statue of Liberty situated in New York harbour, erected between 1879-86; Chicago1883, the now demolished Home Insurance Building; and the Eiffel Tower in Paris, built in 1889, all paved the way for bigger and better conceptions and inventions. It was Russia and it’s Constructivists who would attempt to build the next monumental feat. Vladimir Tatlin was viewed as the father of the Soviet Constructivist movement which thrived form 1913-1930. Their ideals and aims were abstract, non-objective and most the time unrealistic and unachievable. They favoured geometry and math as tool in their construction of art, using materials such as ‘wood, celluloid, nylon, plexi-glass, tin, cardboard, wire and later incorporated aluminum, electronics and chrome. In using these forms and materials, their aim was to depict the dominance of the machine in the modern world and its triumph over nature’ (6).
Intended to be a third of a mile (530 m) high (Honour and Fleming, page 830), Monument to the Third International never made it past the model stage. The Monument is made of an ‘iron spiral framework containing a glass cylinder, cone and cube inside, suspended on the same vertical axis’ (7). The cylinder, cone and cube were each intended to separately rotate one once every year, another once every month and the last once every day. Lecture halls, a telegraph office and an information center were to be the practical use of the middle core elements (7). Though metal framing had been introduced and the Industrial Revolution had brought mass production and transportable products,
picture of the thing it is on.
Charli Collier
VISC 1B01, section 3
Culture, History and Ideas
Writing Assignment
Vladimir Tatlin,
Project for the Monument to the Third international (1919-20)
“Real materials in real space” (3), a philosophy Vladimir Tatlin used to design the Monument to the Third International in 1919 to 1920. Traditionally, sculptures were viewed a mass that had been created by only the material. When Tatlin introduced the use of space as a compositional element, it changed the way modern sculptures were to be created and perceived (7). The Monument was made at a time of many technical advances and social changes, including; photography, factory production as an affect of the Industrial Revolution, the Russian Communist (Bolshevist) Revolution (1917), the invention of metal framing for building, and a rejection of classical traditions of European art with more modern movements such as Art Nouveau and Constructivism. Most of these. had an effect on Tatlin and the production of his Monument to the Third International.
The Crystal Palace constructed in London in 1851; the Statue of Liberty situated in New York harbour, erected between 1879-86; Chicago1883, the now demolished Home Insurance Building; and the Eiffel Tower in Paris, built in 1889, all paved the way for bigger and better conceptions and inventions. It was Russia and it’s Constructivists who would attempt to build the next monumental feat. Vladimir Tatlin was viewed as the father of the Soviet Constructivist movement which thrived form 1913-1930. Their ideals and aims were abstract, non-objective and most the time unrealistic and unachievable. They favoured geometry and math as tool in their construction of art, using materials such as ‘wood, celluloid, nylon, plexi-glass, tin, cardboard, wire and later incorporated aluminum, electronics and chrome. In using these forms and materials, their aim was to depict the dominance of the machine in the modern world and its triumph over nature’ (6).
Intended to be a third of a mile (530 m) high (Honour and Fleming, page 830), Monument to the Third International never made it past the model stage. The Monument is made of an ‘iron spiral framework containing a glass cylinder, cone and cube inside, suspended on the same vertical axis’ (7). The cylinder, cone and cube were each intended to separately rotate one once every year, another once every month and the last once every day. Lecture halls, a telegraph office and an information center were to be the practical use of the middle core elements (7). Though metal framing had been introduced and the Industrial Revolution had brought mass production and transportable products,