Synonyms for alexander_vesnin or Related words with alexander_vesnin

moisei_ginzburg              ivan_fomin              victor_vesnin              rodchenko              vesnin_brothers              el_lissitzky              konstantin_melnikov              vladimir_tatlin              alexander_rodchenko              varvara_stepanova              lissitzky              liubov_popova              alexey_shchusev              ivan_zholtovsky              ilya_golosov              suprematist              vesnin              lyubov_popova              mstislav_dobuzhinsky              igor_grabar              aleksandra_ekster              ivan_kliun              nikolai_ladovsky              olga_rozanova              pavel_filonov              isaak_brodsky              ilya_kabakov              lazar_khidekel              malevich              alexander_bogomazov              nadezhda_udaltsova              ivan_rerberg              ivan_leonidov              chashnik              fyodor_schechtel              kazimir_malevich              vladimir_shchuko              david_burliuk              konstantin_korovin              mikhail_larionov              pyotr_konchalovsky              rudolf_frentz              alexandre_benois              mikhail_avilov              chernikhov              erik_bulatov              konstantin_yuon              vadim_meller              kasimir_malevich              aleksandr_gerasimov             

Examples of "alexander_vesnin"
(Khidekel R.P. About three artists of the Kamerny Theatre. Alexandra Exter, Georgy Yakulov and Alexander Vesnin// Iskusstvo. - 1971. - № 5. p. 37-43)
Born at Voronezh, Nikolaev trained at the Moscow State Technical University under Alexander Vesnin and Alexey Kuznetsov, graduating in 1925. His work prior to 1928 was generally unnoticed (excluding a brief apprenticeship at the 1923 national agricultural exhibition).
Leonid Aleksandrovich Vesnin (Леони́д Александрович Веснин) (1880 in Nizhny Novgorod – 1933 in Moscow), together with his brothers Alexander Vesnin and Viktor Vesnin, was a leading light of Constructivist architecture.
Note that in 1934 Victor Vesnin became the Chief Architect of Narkomtiazhprom (Ministry of Heavy Industry); Alexander Vesnin and Moisei Ginzburg also worked with this institution throughout the 1930s.
In 1919 Leonidov attended the Svomas free art studios in Tver. From 1921–27 he studied at the VKhUTEMAS in Moscow under the tutelage of Alexander Vesnin at which point his attention switched from painting to architecture.
The building was criticized by fellow Swiss architect Hannes Meyer as being "an orgy of glass and concrete". Russian constructivist Alexander Vesnin however called it "the best building to arise in Moscow for over a century".
OSA was the only left-wing architects’ union that regularly published its magazine, "SA" (Contemporary Architecture), edited by Ginzburg and Alexander Vesnin. Its editorial "offices" was based at the Vesnin’s Moscow apartment and their country dacha. Alexander Vesnin "censored" the magazine, blocking any extremist, fringe theories that the liberal Ginzburg would accept. "SA" was issued continuously for five years, 1926–1930, and consolidated nearly all practicing constructivists, including Victor Vesnin. Leonid Vesnin, on the contrary, stood aside from OSA and never spoke publicly in favor of any trend in art.
The Vesnin brothers: Leonid Vesnin (1880–1933), Victor Vesnin (1882–1950) and Alexander Vesnin (1883–1959) were the leaders of Constructivist architecture, the dominant architectural school of the Soviet Union in the 1920s and early 1930s. Exact estimation of each brother's individual input to their collaborative works remains a matter of dispute and conjecture; nevertheless, historians noted the leading role of Alexander Vesnin in the early constructivist drafts by the Vesnin brothers between 1923 and 1925. Alexander also had the most prominent career outside of architecture, as a stage designer and abstract painter.
Ivan Fomin limited building height to 12 story (24 story for two towers facing Lenin's Mausoleum) to fit into existing technology limits. Ivan Leonidov's concept, consisting of three lean skyscrapers, probably the most advanced, was far beyond these limits. Constructivist elders Alexander Vesnin and Victor Vesnin produced various concepts:
Alexander Vesnin presented five abstract cubist canvases that appear pure abstractions but were, in fact, ultimate decomposition of human figures. Vesnin's catalogue cover, in particular, is typical of his book and advertising art of the period: numbers in two "lines" (5x5 and 25) are offset against the baseline, but this irregularity is "disguised" by angled lines dissecting the space.
The urbanist school was led by Leonid Sabsovich, and included significant architects of the time including the brothers Viktor, Leonid and Alexander Vesnin, and the brothers Panteleymon and Ilya Golosov. They opposed the expansion of existing cities and instead advocated for a partial decentralisation to a system of self-contained, compact centres located around industry, of a fixed population of approximately 50,000 people.
A split occurred in 1922 when Pevsner and Gabo emigrated. The movement then developed along socially utilitarian lines. The productivist majority gained the support of the Proletkult and the magazine LEF, and later became the dominant influence of the architectural group O.S.A., directed by Alexander Vesnin and Moisei Ginzburg.
5x5=25 was a two-part abstract art exhibition held in September–October 1921 in Moscow. The five artists whose work was shown were Aleksandra Ekster, Lyubov Popova, Alexander Rodchenko, Varvara Stepanova and Alexander Vesnin. They presented highly abstracted, geometric work that rejected expressionist forms of painting common before the World War I and pretended to be the "end" or "death" of art.
In 1922 the three brothers reunited, embraced avant-garde concepts and developed their own vision of modern architecture that emphasized functionality of buildings and modern construction technology. The Vesnin brothers won professional leadership through winning architectural contests of 1922–1925, and activities and publications of the OSA Group chaired by Alexander Vesnin. When the economy recovered from post-war depression, they were rewarded with high-profile real construction projects like the Dnieper Hydroelectric Station and Likhachev Palace of Culture in Moscow.
From 1921 to 1924 Popova became entirely involved in Constructivist projects, sometimes in collaboration with Varvara Stepanova, the architect Alexander Vesnin and Alexander Rodchenko. She produced stage designs: Vsevolod Meyerhold's production of Fernand Crommelynck's "The Magnanimous Cuckold", 1922; her "Spatial Force Constructions" were used as the basis of her art teaching theory at Vkhutemas. She designed typography of books, production art and textiles, and contributed designs for dresses to LEF.
In 1927–1928 Alexander Vesnin, feeling himself responsible for the proliferation of a mediocre "constructive style", abandoned his earlier style demonstrated in the towering hulks of the "Palace of Labor" and "Arcos". The new drafts by the Vesnin brothers decomposed the building into separate volumes linked according to the building's function. The approach, dubbed "pavilion composition", was publicized in the Vesnins' 1928 draft for the Lenin Library. The Vesnins lost both stages of this contest to Vladimir Shchuko.
From 1922–1925, the Vesnin brothers designed six entries for public architectural competitions. These buildings never materialized (or were not intended to be built at all) but became a statement of constructivism; their stylistic cues were eagerly copied in practical construction in the second half of the 1920s. Alexander Vesnin contributed to all six drafts; Victor and Leonid each contributed to four drafts. "Palace of Labor" and "Arcos" were the only drafts signed by all three brothers. According to Harry Francis Mallgrave, these early works were "the first indication of what constituted constructivist architecture" (as opposed to earlier concept of constructivist art).
Like the ASNOVA group, OSA grew out of the avant-garde wing of the VKhUTEMAS school in Moscow. The group's founders were Moisei Ginzburg, well known for his book "Style and Epoch" (a Soviet response to Le Corbusier's "Vers une Architecture") and the painter, designer and architect Alexander Vesnin. Unlike the earlier association the OSA group claimed for itself the name Constructivist, in that it was, in its utilitarianism and concentration on function rather than form, an architectural equivalent to the experiments of 'artistic' Constructivism. OSA was in many ways the architectural wing of the socialist Modernists of LEF, and likewise set up its own journal in 1926.
Alexander was practically ousted from Vkhutemas until the March 1924 publication of the Arcos drafts instantly made him a celebrity. In the 1924–1925 season he was given a chair at a new, fourth, architectural workshop; Leonid assisted Alexander with management but did not interfere with the actual training process. Alexander Vesnin chaired his department until the dissolution of Vkhutemas in 1932; his workshop was engaged in informal rivalry with Ladovsky’s United Workshop. Notable Vesnin alumni of this period include Andrey Burov (class of 1925), Mikhail Barsch (1926), Ivan Leonidov (1927) and Georgy Krutikov (1928).
The first "materialized" constructivist work by the Vesnin brothers, a new workers' town was launched in the suburbs of Baku in 1925. The Vesnins developed a lasting association with Soviet oil industry (then based primarily in Azerbaijan). In 1928, they built three workers' clubs in Bailov, Suraxanı and the Black Settlement of Baku; all three followed the pavilion composition. These asymmetrical buildings had no visible oriental features but their low, horizontal outlines were tailored to fit into medieval Muslim city. Later, after World War II, the workshop of Victor and Alexander Vesnin worked full-time for the Ministry of Oil Industry.