VLADIMIR TATLIN
Troels Andersen, K. G. P. Húlten, Karin Bergqvist Lindegren and Douglas Feuk
Troels Andersen [Author], K. G. P. Húlten, Karin Bergqvist Lindegren and Douglas Feuk [Editors]: VLADIMIR TATLIN. Stockholm: Moderna Museet, 1968. First edition [Moderna Museets utställningskatalog 75]. Parallel text in Swedish and English. Thick photo illustrated wrappers. 92 pp. 70 black and white illustrations. Catalog designed by K. G. P. Húlten. Wrappers worn, with spine chipped at crown and heel. A good or better copy. 8.5 x 11.75 softcover catalog with 92 pages and 70 black and white illustrations. Catalog for the exhibition at the Moderna Museet, Stockholm, from July to Septembre 1968, including painting, drawing, theatre design, and of course his celebrated masterpiece the “Monument to the Third International.”
Vladimir Tatlin [Russian, 1885 – 1953] was central to the birth of Russian Constructivism. Often described as a "laboratory Constructivist," he took lessons learned from Pablo Picasso's Cubist reliefs and Russian Futurism, and began creating objects that sometimes seem poised between sculpture and architecture. Initially trained as an icon painter, he soon abandoned the traditionally pictorial concerns of painting and instead concentrated on the possibilities inherent in the materials he used - often metal, glass, and wood. He wanted above all to bend art to modern purposes and, ultimately, to tasks suited to the goals of Russia's Communist revolution. He is remembered most for his Monument to the Third International (1919-20). A design for the Communist International headquarters, it was realized as a model but never built. It crystallized his desire to bring about a synthesis of art and technology, and has remained a touchstone of that utopian goal for generations of artists since. The arc of his career has come to define the spirit of avant-gardism in the twentieth century, the attempt to bring art to the service of everyday life.
Much of Tatlin's mature work shows a desire to abolish the traditionally representational function of art and put it to new, more practical uses. This accorded with his desire to put art in the service of the Russian Revolution, but also to express the dynamic experience of life in the twentieth century. Although this would be more effectively achieved by a later generation of artists, some of whom put art aside to produce advertising and propaganda for the state, Tatlin's work marks an important early stage in the transformation of Russian art, from modernist experiment to practical design.
Tatlin believed that the materials an artist used should be used in accordance with their capacities and in such a way that explored the uses to which they could be put. In part, this attitude is characteristic of the ethic of "truth to materials," an idea that runs throughout the history of modern sculpture. But Tatlin's approach was distinctively shaped by his desire to bring lessons learned in the artist's studio to the service of the real world. That might explain why his work seems to shift from a preoccupation with the texture and character of materials, to a focus on technology and the machine.
Tatlin's training as an icon painter may have been significant in suggesting to him how unusual materials might be introduced into painting, but the most important revelation in this respect was his encounter with Picasso's Cubist collages, which he saw on a trip to Paris in 1913. Another echo of his earliest concerns - one that remains in his work throughout his career - is his preoccupation with curves, something that can be traced all the way from his early nudes through the experimental sculpture of his Counter-reliefs up to his architectural Monument to the Third International (1919-20). [The Art Story Foundation]