Constructionist Artist Varvara Stepanova

January 23, 2008

By Astrid Lee

The great Russian artist Varvara Fedorovna Stepanova (1894-1958) delved into to a wide range of artistic trends from Social realism to Symbolism. However, Stepanova is mostly known for exploring and furthering Constructivism.

New Abstract Art in Russia began around 1909 – some say, actual Constructivism started in 1919 when first mentioned by Rodchenko. The term ‘Constructivism’ was actually used by the Russian artists themselves. In some ways, Constructivism was influenced by Cubism, Italian/Russian Futurism and traditional peasant art. Constructivist artwork is characterized by abstract, geometric forms and a technique in which various materials, often industrial in nature, are assembled rather than carved or modeled.

Constructivism replaced traditional art with socially-instrumental art. Constructivists invited their audiences to be active viewers of their artwork. In line with this vision, constructivists were innovators in fine art painting; but also in 3-D constructed objects; typographic design including posters; textiles & fashion designs, furniture, and theater sets and costume design.

Constuctivist lead-playing artist Stepanova expressed her wide range of talents in all of these art outlets and media. For a long time, Varvara substituted her painting for production art. She worked with functional materials manufactured in an equal relationship between artist and industrial worker, with an objective to bring art into life.

Stepanova carried out her ideal of engaging with industrial production and designed comfortable clothing for ease of movement of workers. She used striking fabrics in geometric patterns that suited the industrial printing methods. Her modernist practicality combined with sophistication made her popular in Paris in the mid ’20s.

Even though from peasant origin, Varvara went to the Kazan School of Art in Odessa. There she met her live-long art collaborator and then future-husband, Alexander Rodchenko. She moved to Moscow in 1912 with Rodchenko to attend the Stroganov School.

Together Stepanova and Rodchenko became an important part of the Russian art avant-garde, both in terms of their collaborations, and each in their own right. For an example of a collaborative artwork with Rodchenko, is NYC’s Museum of Modern Art. Both Rodchenko and Stepanova considered the artistic experience as public communication rather than a private introspection.

The couple was involved with many influential artists of that time. Before the Russian Revolution, around 1917, they shared an apartment with Wassily Kadinsky in Moscow, and were introduced to many other famous Russian artists.

In the earlier parts of her career, Varvara loved Futurist poetry. She autonomously developed what came to be known as ‘non-objective visual poetry’. An example of ‘non-objective visual poetry’ is featured at MoMA: ‘Gaust chaba’, 1919, which is watercolor manuscript text on found newspaper leaves.

Stepanova designed Cubo-Futurist artwork for use in artists’ books. This kind of artwork combines the Cubist use of forms. At the same time, it adopts the Futurists’ passionate loathing of ideas from the past, especially political and artistic traditions, and a love for action and technology. Stepanova participated in world-famous art shows, including the ‘Fifth State Exhibition’ & the ‘Tenth State Exhibition’ in 1919, and the ‘5×5 = 25 Exhibition’ in Moscow in 1921.

Many of her works feature figures who she displays as robotic, efficient and dynamic, i.e. new socialist human beings. In one of her most famous works ‘The Billiard Players’ Stepanova depicts mechanical action and emotional states simultaneously.

Even more than her husband’s work, Stepanova’s work in the 1920s epitomized the Russian Avant-Garde. Stepanova’s constructivism flourished through the mid 1930s. From 1920 to 1925, Varvara taught at the Krupskaia Academy of Social Education.

About the Author

A. Lee creates symbolic art, as she works with both healing & spiritual imagery which she infuses with distant healing energy. You can find her desirable artwork at Spiritual Art at AstridLee.com.

She also maintains the website for fine art, http://www.eArtfair.com , which features extensive fine art, abstract art, spiritual art and other quality art collecting information.

STEPANOVA IN THE NEWS
The New Yorker

Written by e Art fair .com · Filed Under Art History, Art Museum, Art in Europe, Famous Artists, Modern Art, Other Genres | Art Movements | 1 Comment

XMAS Art Shows — Tips for Selling Artists

October 20, 2007

Yesterday Belinda Stinson wrote an excellent article ‘7 Reasons Why Using Jewelry Display Stands Get You More Expo Trade Shows Sales’ , which I believe will really be of help to jewellers (and other artisans) who are planning to participate in the numerous upcoming XMAS art & craft gift shows.

“The question of how to sell and display jewelry for the best results is one asked by all of us who attends trade shows, craft fairs, bridal expos, basically any retail or wholesale exhibition where we are selling jewelry.

For me I have found that using creative jewelry display ideas gives the best results for trade show jewelry display efforts. So here are seven reasons why jewelry display sets get you more sales at your trade show display:

1. customers can easily see the earrings, necklaces, bracelets and rings and are attracted to them and this is exactly what you want as a busy display booth attracts more people and the more people you get to talk to the more sales you get to make.

2. jewelry display bust, jewelry ring finger display and earring holders can be picked up so customers can have a better look at the jewelry designs. Getting the customers to handle the jewelry gets you more orders because of the building up of the relationship during this process.

3. beautiful jewelry display stands attract attention in their own right. You want all the attention you can get for your exhibition stand and the more people you have looking and being in front of your stand the better for increased sales and orders.

4. it is easier to keep track of displayed jewelry because you can quickly see empty holes on the earring tree themselves. When you are busy you want it to be easy to see how your stock is going.

5. portable jewelry display stands are quick and easy to set up to make setting up your trade show booth design easier, the same is true for pack up. I simply wrap mine up with the earrings still on them so they are ready to go when I next setup for selling.

6. unusual and attractive jewelry earring stands bring customers over just to check them out and lets you start getting a conversation going easily, making the hardest part easy. From there you have a much easier time building up the customer relationship.

7. makes your expo trade show display stand out from the crowd and easily remembered by customers by using creative jewelry display techniques. Visitors get overwhelmed at shows so having a visually distinctive stand display gets to stand out in their memories and discussed later on.

To display jewelry to the best effect you want jewelry display fixtures that do the work for you, especially with displays that your competitors do not have. This is simply done by getting jewelry display supplies from jewelry display vendors that are outside of your area and your competitors’ area.”

Article source: ContentLog.com

Author Description
Belinda Stinson is the designer and owner of http://CreativelyBelle.com and enjoys designing beaded jewelry and expanding the jewelry display and earring holder range. Join the free monthly email newsletter for design updates, jewelry display supply specials, fashion jewelry sales and free articles about building your own successful business.

Written by e Art fair .com · Filed Under Art Business, How To Make Fine Craft, Jewellery | Leave a Comment