Alexander Rodchenko
Alexander Rodchenko was born in St. Petersburg in 1891. He studied art in Kazan and later moved to Moscow, where he became one of the main figures of the Russian avant-garde. He worked in many fields - painting, sculpture, graphic design, advertising, photomontage and photography.
Rodchenko became one of the founders of Constructivism. He believed that art should be part of everyday life, not something separated from society. In the 1920s, he moved away from painting and became increasingly interested in photography, design and photomontage.
Rodchenko became one of the founders of Constructivism. He believed that art should be part of everyday life, not something separated from society. In the 1920s, he moved away from painting and became increasingly interested in photography, design and photomontage.
Alexander Rodchenko
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«Photography-the new, rapid, concrete reflector of the world-should surely undertake to show the world from all vantage points».
He started taking photographs seriously in 1924. His approach was very different from traditional photography. He photographed people and buildings from above, below and at sharp angles. Staircases, balconies, streets and ordinary objects became abstract compositions. His unusual viewpoints were meant to make people look at familiar things differently.
One of Rodchenko’s best-known subjects was Vladimir Mayakovsky, one of the best-known Russian poets and a major figure of Russian Futurism. Rodchenko photographed Mayakovsky in 1924, but their collaboration began earlier. They worked together on books, posters, advertisements and illustrated poetry. Rodchenko was also one of the pioneers of photomontage and modern book illustration. He began using photomontage in book design in the early 1920s, with an important example being Mayakovsky’s poem About This in 1923. During the 1920s, Rodchenko created photomontages, book covers and illustrations for many publications, combining photographs, typography and graphic elements in new ways.
One of Rodchenko’s best-known subjects was Vladimir Mayakovsky, one of the best-known Russian poets and a major figure of Russian Futurism. Rodchenko photographed Mayakovsky in 1924, but their collaboration began earlier. They worked together on books, posters, advertisements and illustrated poetry. Rodchenko was also one of the pioneers of photomontage and modern book illustration. He began using photomontage in book design in the early 1920s, with an important example being Mayakovsky’s poem About This in 1923. During the 1920s, Rodchenko created photomontages, book covers and illustrations for many publications, combining photographs, typography and graphic elements in new ways.
Rodchenko also used photography for magazines, books, posters and advertising. He worked closely with Mayakovsky, creating photomontages and graphic designs for Soviet publications. For Rodchenko, photography was also a way to communicate ideas to a large audience.
His photographs from the 1920s are full of steep diagonals, close-ups and unexpected perspectives. Images such as At the Telephone and Assembling for a Demonstration became important examples of his style. These pictures showed ordinary Soviet life from unusual and unexpected angles.
His photographs from the 1920s are full of steep diagonals, close-ups and unexpected perspectives. Images such as At the Telephone and Assembling for a Demonstration became important examples of his style. These pictures showed ordinary Soviet life from unusual and unexpected angles.
«I reduced painting to its logical conclusion and exhibited three canvases: red, blue and yellow. I affirmed: It’s all over».
Rodchenko was also closely connected to Soviet political and cultural life. He believed that photography and graphic design could help build a new society. He worked for magazines and photographed industry, sport, workers and public events.
By the end of the 1920s, his situation became more difficult. Rodchenko was criticised for his experimental style, which was increasingly described as formalist. As Socialist Realism became the official artistic style, there was less space for the kind of experimental photography he had developed.
By the end of the 1920s, his situation became more difficult. Rodchenko was criticised for his experimental style, which was increasingly described as formalist. As Socialist Realism became the official artistic style, there was less space for the kind of experimental photography he had developed.
He later worked on official Soviet projects, including photographs for USSR in Construction. One of the most controversial examples was his work on the White Sea-Baltic Canal, a major Soviet propaganda project built by prisoners of the Gulag.
Rodchenko died in Moscow in 1956. Today, his photographs are held by major museums around the world. MoMA alone has 246 works by Rodchenko in its online collection. His photographs changed the way photographers could use the camera: instead of simply recording reality, they could show it from completely unexpected points of view.
Rodchenko died in Moscow in 1956. Today, his photographs are held by major museums around the world. MoMA alone has 246 works by Rodchenko in its online collection. His photographs changed the way photographers could use the camera: instead of simply recording reality, they could show it from completely unexpected points of view.