弗拉基米尔·塔特林(Vladimir Tatlin)高清作品《列宁格勒》

作品名：列宁格勒

艺术家：弗拉基米尔·塔特林

年代：1936

风格：现实主义

类型：城市风貌

介质：油画,木质

尺寸：41 x 33 cm

弗拉基米尔·塔特林是俄罗斯前卫派中颇有影响的人物，他是新艺术形式和艺术语言的无畏发明家。他被认为是建构主义的奠基人。Tatlin的名字与二十世纪最大胆的实验有关。他把塑料与空间形态、材料的艺术性和功利性结合起来，彻底改造了画像平面的虚幻性，使之达到三维尺度。在早期绘画中，Tatlin受到巴勃罗·鲁伊斯·毕加索的影响，进一步推进和掌握了他的立体主义理论。他运用了结合立体主义、现代主义和未来主义特征的大而有节奏的协调表面，表现了普遍的节奏。在1921年出版的《塔特林（反对立体主义）》一书中，尼古拉·普宁对当代艺术的演变提出了一个连贯的理论。普宁的结论是，艺术的发展经历了从印象派中光的优势，接着是塞尚绘画中色彩的优势和空间表面的建模，到三维空间和纹理的错觉，取代了立体派中色彩的优势。艺术进化的最后阶段是泰特林使用真实的空间。从形式上看，塔特林的创造力从遗传上上升到印象主义，表明了只有人类在造型艺术领域获得的一切，努力实现其基本规律——负荷定律。N 1920，他的艺术被嘲弄，起诉和禁止在未来几十年。1933年，在RSFSR艺术家15年展览会上，塔特林的作品在“形式主义趋势”大厅展出。这是他最后一次公开展览。不幸的是，艺术家后期的作品还不多。在剩下的几幅画中我们看到了两种主要的倾向：一种是抒情的，唉，原始的，半透明的，像油画一样的水彩画，另一种是戏剧性的，强烈的，大胆地使用对比色调，让人想起彩色玻璃技术。描绘Leningrad一条狭窄的街道的和平和宁静的构图。同时，它充满了内心的张力和凄凉的感觉。这种矛盾的图像是通过使用对比色调和线条来实现的。这幅画的调色板很有限。黑色起主要作用，而灰色、冷白色和淡的层次并不像人们所期望的那样使作品明亮，而是加强了孤独感和两个人物的孤立感。这幅画的年代为1936年，可以看作是对其时间的一种非常具有象征意义的描绘。苏维埃社会现实主义被宣布为苏维埃文化各个领域的强制性风格，自苏维埃社会现实主义正式诞生至今已有两年。与党的指导方针相反，塔特林创作的这幅画反映了他对规定的“官方艺术”的怀疑态度。

Title:Leningrad

artist:Vladimir Tatlin

Date:1936

Style:Realism

Genre:cityscape

Media:oil,wood

Dimensions:41 x 33 cm

Vladimir Tatlin is an influential figure in Russian avant-garde, an undaunted inventor of new forms of art and artistic language. He is considered the founder of Russian constructivism. Tatlin’s name is associated with the most daring experiments in the art of the 20th century. He combined plastics and spatial forms, artistic and utilitarian properties of materials, which made it possible to completely reform the illusory nature of the pictorial plane and bring it to three-dimensional scale. In his early paintings Tatlin was influenced by Pablo Picasso, further advancing and mastering his cubistic theories. He operated with large, rhythmically coordinated surfaces combining the features of cubism, modernism and futurism, expressively embodied the universal rhythm. In his book Tatlin (Against Cubism)” published in 1921, Nikolai Punin presented a coherent theory of the evolution of contemporary art. Punin concluded that the evolution of art progressed from predominance of light in impressionism, followed by predominance of color and modeling of spatial surfaces in Cezanne’s paintings, to the illusion of three-dimensional space and textures that replaced the predominance of color in cubists. The final stage of evolution of art was the use of real space by Tatlin. Tatlins creativity in terms of its formal achievements, genetically rising to the impressionism, shows everything that only mankind has gained in the field of plastic art, striving to realize its basic law-the law of loading.However, renaissance and recognition of Tatlin’s artistic ideas in 1920’s, his art was mocked, prosecuted and forbidden during the next decades. At the exhibition Artists of the RSFSR for 15 years in 1933, Tatlin’s works were displayed in the hall of formalistic trends. It was his last public exhibition. Unfortunately, not many works of the artist’s late period still exist. In the few remaining paintings we see two main tendencies: one is lyrical, ala prima, translucent, watercolor like oil paintings and the other is dramatic, intense, with bold usage of contrasting tones, reminiscent of stained-glass technique.In this painting, we see an urban landscape, seemingly simple and peaceful composition depicting a narrow street of Leningrad. At the same time, it is full of inner tension and sense of desolation. This contradictory image is achieved by using contrasting tones and lines. Palette of the painting is very limited. The black color plays the main role, while gradations of gray, cold white and light yellow do not brighten the composition as one might expect, but instead strengthen the sense of loneliness and isolation of two human figures. The painting is dated 1936 and it could be seen as a very symbolic portrayal of its time. It had been two years since the official birth of the Soviet Social realism which was declared as a mandatory style in all fields of the Soviet culture. In opposition to the Communist guidelines, Tatlin created this painting that reflected his skeptical attitude towards the prescribed “official art.”