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Related: Russian art - 1910s - 1920s

In film: Aelita, The Queen of Mars (1924) -

Key work of art: Beat the white with the Red wedge (1919) El Lissitzky

Aelita, The Queen of Mars (1924) - Yakov Protazanov
A film with constructivist decors.

The artists of the movement were influenced by, and used materials from, industrial design such as sheet metal and glass. Often these materials were used to create geometric objects. [Apr 2006]


In art and architecture, constructivism was an artistic movement in Russia from 1914 onward in favour of "pure" art with no social function which used designs influenced by, and materials used in, industry. It was founded by Vladimir Tatlin, with later prominent constructivists including Antoine Pevsner and Naum Gabo. Kasimir Malevich also made pieces that could be called constructivist, though he is better known for his earlier suprematism. The movement was an important influence on new graphic design techniques championed by El Lissitzky. --http://en.wikipedia.org/wiki/Constructivism

Term used to describe the art and design that developed after the Russian Revolution of 1917.  Largely abstract using visual elements as parts of works that are "constructed" or assembled rather than painted or carved as in most historic fine art. Can be seen in much Bauhaus design.   A movement in modern art, originally in painting and later in sculpture and architecture, calling for the use of materials such as glass, wood, paper, and wire, instead of paints, crayons, and the like, and emphasizing the role of art as an instrument for construction. Art in constructivism is typically geometric, massive, and three-dimensional.  Naum Gabo, Antoine Pevsner, and El Lissitzky brought Constructivism from the Soviet Union to the West.  Laszlo Moholy-Nagy came to Germany from Hungary, Theo van Doesburg from the Netherlands.  Ben Nicolson was the most prominent English Constructivist.  Josef Albers and Hans Richter were also instrumental in its international dissemination. --Dictionary of 20th Century Design" by John Pile

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