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Exhibitions

Tatlin, Vladimir Evgrafovich

18851953


Painter, graphic artist, stage designer, architect and designer. Painter of still lifes and counter-reliefs. He came from a family of gentry. His father was a technological engineer. Tatlin travelled a lot in his youth serving as a cabin boy and sailor on ships. The motifs found in ship construction - masts, sails, rudders - often appear as his artistic objects. He studied at the Kharkov Real College and in 1902 at the MSPSA, between 1905-1910 he attended the Penza Art School and in 1904 the Odessa College of Commercial Navigation. During the development of his artistic perspective, it was especially important for him that he mastered the canons of old Russian art and mixed with representatives from the Moscow and St. Petersburg avant-garde (M.F.Larionov and the Burlyuk brothers). In the early 1910s he pursued painting, combining elements of Neo-Primitivism and Cubism. He established his own studio in the summer of 1912 where his classes were attended by L.S.Popova, N.A.Udaltsova, R.R.Falk and K.S.Malevich. In 1914 he accompanied a Russian artisan exhibition to Berlin playing the role of a "blind" bandura (Ukrainian instrument) player. Wearing this extravagant dress he visited the Paris studio of P.Picasso. In the same year he returned to Moscow and organised "The First Exhibition of Painted Reliefs". Over several years he worked on counter-reliefs (Counter-Relief, 1916). V.E.Tatlins tireless experiments based on the passion of the inventor and creator. No matter what type of art he was working on, he would always strive for innovation. Tatlin was one of the first artists to establish symmetry between painting and applied art, making wood, glass and metal serve as the artist palette and as a consequence discovering the infinite potential in it for 20th century art. This founder of Constructivism, its ideologist and practitioner, was not only its master but also its prophet, just like K.S.Malevich. He took an active role in the organization of artistic life following the Revolution. Between 1919-1920 he creates the draft and model for his most famous work entitled "Monument to the III International" ("Tatlins Towers") which embodies the "synthesis of methods in painting, sculpture and architecture". His second important utopian project was the flying apparatus "Letatlin" (1929-1932), which was produced by merging mechanical and organic forms. The artist worked a lot as a designer. During the last years of his life when his experiments were referred to as "harmful Formalism" he pursued easel painting and innovatory explorations in stage design. The history of Tatlins creative heritage is unhappy. Most of his spatial constructions perished when they were placed "under arrest" in the storage facilities of Soviet museums. Today many of them have been reconstructed.
Fish Seller

1911
Canvas
77 99
at 10, Krymsky Val, Hall 2

Counter-Relief

1913
Wood, metal, leather
62 53
at 10, Krymsky Val, Hall 6

Nude model

1913
Oil on canvas
143 108
at 10, Krymsky Val, Hall 2

The Ball

1913
cardboard, watercolour, pencil, India ink, Indian ink
55,593,2
at 10, Krymsky Val, Hall 2

The Forest

1913
cardboard, glue paint
54,495,5
at 10, Krymsky Val, Hall 2

Board 1

1916
Parquet, tempera, gilding on wood
100 57
at 10, Krymsky Val, Hall 6

Counter-relief (Material Assortment)

1916
Wood, rosewood, fir, metal
100 64,5
at 10, Krymsky Val, Hall 6