Vladimir Tatlin, (1885-1953) is known as the father of the Constructivist art movement. While his creativity extended from painting, to set design, to theater production, he is probably most famous for his conceptualization of the Monument to the Third International, a structure that was never built but holds its own in the history of Russian art of the 20th century.
Tatlin's Artistic Life and Influences
Tatlin's artistic life began after he fled an unhappy home life at the age of 18 to become a sailor. Between voyages, Tatlin studied at the Perza School of Art and the Moscow College of Painting, Sculpture, and Architecture. He began his studies in 1904. His first works were exhibited in 1911.
Tatlin's influences were narrowly defined. He was inspired by the works of Cezanne, but later came to be influenced by Russian icon painting. An admirer of Picasso, Tatlin once begged to be allowed to stay at the artist's studio during a visit, offering to do menial chores in return for the honor.
Tatlin was much more than a painter. He is not so much remembered for his paintings as he is his innovative artistic skill in the three-dimensional world. Tatlin designed stage sets and costumes and produced plays. He even developed the design for a glider, which never flew, called letatlin. His “Painting Reliefs” sought to bring painted forms into space. These can be best described as geometric installation pieces built of various materials to create interplay between shape and line.
Monument to the Third International
Tatlin's Monument to the Third International of 1920 existed only in model form, but the intent of the proposed finish piece was, in itself, monumental. The monument sought to commemorate, not an individual, but an institution. This innovative idea was in keeping with Bolshevik ideology. The Third International was an organization whose goal was to globally spread revolution through collective effort.
The original model for the Monument to the Third International was built of everyday materials – wood, wire, cardboard, metal, and paper. With these ordinary materials the form of a very extraordinary structure was realized. The Monument was to be twice the height of the Empire State Building and be made of glass and iron. Inside the structure would revolve three shapes – a cylinder, a cone, and a cube – in which would take place designated activities. The purpose of the Monument to the Third International didn't stop there. The structure was to be fitted with a projector that could illuminate a cloudy sky with daily mottoes.
Unfortunately, many of Tatlin's works are able to be studied only through photographs; the originals have disappeared or disintegrated. Nevertheless, Tatlin remains an important figure in the history of 20th century Russian art.
References
Fer, Briony, David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art between the Wars. New Haven: Yale University Press, 1993.
Gray, Camilla. The Russian Experiment in Art: 1863-1922. London: Thames and Hudson, 1986.
Kerry Kubilius - A graduate of Ohio State University, Kerry has a BA in Russian and a BA in History of Art with a focus on Eastern European art. She also ...
