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From Pictures to Textile Prints

From Pictures to Textile Prints JOHN E. BOWLT (Austin, Tex., U.S.A.) From Pictures to Textile Prints* "Under pressure from the revolutionary conditions of contemporaneity, we reject the pure form of art. We recognize self-sufficient easel art as being outmoded and our activity as mere painters as being useless.... We declare productional art to be absolute and Constructivism to be its only form of expression."i It was with these words, spoken at a meeting in the Moscow Institute of Artistic Culture in November, 1921, that a group of avant-garde artists, including Alexandra Exter, Liubov Popova, Aleksandr Rodchenko, Varvara Stepanova, and Aleksandr Vesnin announced their entry into the world of utilitarian, industrial design. They were, however, implementing ideas which had been voiced as early as 1918, if not before, and their action can be regarded as the culmination to a process. In August, 1918, for example, the Visual Arts Section of the People's Commissariat for Enlightenment (IZO Narkompros) had opened a special Subsection of Art-Industry organized by the artist Olga Rozanova to deal precisely with the relationship between "pure" and "applied" art. In August, 1919, at the First All-Russian Con- ference on Art-Industry, the Commissar for Popular Enlightenment, Anatolii Lunacharskii, had declared: "If we are http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Soviet and Post Soviet Review Brill

From Pictures to Textile Prints

The Soviet and Post Soviet Review , Volume 3 (1): 311 – Jan 1, 1976

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Publisher
Brill
Copyright
© 1976 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1075-1262
eISSN
1876-3324
DOI
10.1163/187633276X00197
Publisher site
See Article on Publisher Site

Abstract

JOHN E. BOWLT (Austin, Tex., U.S.A.) From Pictures to Textile Prints* "Under pressure from the revolutionary conditions of contemporaneity, we reject the pure form of art. We recognize self-sufficient easel art as being outmoded and our activity as mere painters as being useless.... We declare productional art to be absolute and Constructivism to be its only form of expression."i It was with these words, spoken at a meeting in the Moscow Institute of Artistic Culture in November, 1921, that a group of avant-garde artists, including Alexandra Exter, Liubov Popova, Aleksandr Rodchenko, Varvara Stepanova, and Aleksandr Vesnin announced their entry into the world of utilitarian, industrial design. They were, however, implementing ideas which had been voiced as early as 1918, if not before, and their action can be regarded as the culmination to a process. In August, 1918, for example, the Visual Arts Section of the People's Commissariat for Enlightenment (IZO Narkompros) had opened a special Subsection of Art-Industry organized by the artist Olga Rozanova to deal precisely with the relationship between "pure" and "applied" art. In August, 1919, at the First All-Russian Con- ference on Art-Industry, the Commissar for Popular Enlightenment, Anatolii Lunacharskii, had declared: "If we are

Journal

The Soviet and Post Soviet ReviewBrill

Published: Jan 1, 1976

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