Description
Vladimir Tatlin, one of the most resonant names of Russian constructivism, offers us with "relief of Tatlin 2 - 1914" a sublime sample of its artistic innovation and its challenge to the established conventions. Tatlin, who initially formed as a painter, soon felt more attracted to the three -dimensional potential, something that was evident in his subsequent works that fuse plastic art and architecture. The work in question, "Tatlin Relief 2", is revealed not only as a simple painting, but as a three -dimensional and complex construction that reaffirms the artist's skill in the use of materials and the creation of rich and dynamic textures.
When observing the composition of "relief of Tatlin 2 - 1914", it is immediately to realize that we are facing a non -figurative composition where geometric elements and industrial materials play a crucial role. The disposition of forms and materials inevitably reminds us of the machinery and the industrial era, in which Tatlin went out to seek inspiration. He distanced himself from the purely pictorial solutions of art and entered into the use of wood, metal and other daily materials in his sculptures, giving way to a new definition of art and his function in society.
This relief is characterized by the intersection of plans and the use of different textures. Tatlin uses curved and straight elements that seem to emerge and go back from the surface, creating a visual game of lights and shadows that gives the work a certain vivacity. The placement of each piece seems carefully calculated to maintain a balance and an organic relationship between each component. The result is an assembly that moves away from traditional representations and contemplates volume and space as essential elements of the composition.
The color in "Tatlin relief 2 - 1914" remains relatively sober and is dominated by Earth tones and rusty metals, a palette that reinforces the association with the industrial and technical. This chromatic range does not seek to distract, but to highlight the formal and structural harmony of the work. The choice of these colors, in addition, highlights the material in itself, its texture and its raw beauty, allowing the work to be appreciated both for its format and its material content.
It should be noted that there is no presence of human figures or characters in this piece. It is an entirely abstract work, focused on the combination of forms and volumes, aimed at exploring the possibilities of materials and their interaction in space. This absence of the human figure is significant, indicating a radical turn in the art of Tatlin and a break with the pictorial tradition of mimicry and representation.
Tatlin, with works like this, was trying to go beyond mere aesthetic creation; I was proposing a new way of understanding art, where the function and form are intimately linked. This idea would be fundamental in the development of constructivism, a movement that not only advocated a new artistic aesthetic, but also for a reformulation of the function of art in nascent Soviet society, seeking to apply principles of efficiency and functionality to the Fine Arts.
In conclusion, "Tatlin relief 2 - 1914" represents not only an immersion in constructivist visual language, but also a declaration of principles by Vladimir Tatlin. It is a testimony of the talent of an artist who dared to break barriers and redesign the role of art in the modern era. Tatlin invites us to rethink the function of artistic objects, proposing an intrinsic integration of art in all aspects of everyday life and industry.
KUADROS ©, a famous paint on your wall.
Hand-made oil painting reproductions, with the quality of professional artists and the distinctive seal of KUADROS ©.
Art reproduction service with satisfaction guarantee. If you are not completely satisfied with the replica of your painting, we refund your money 100%.