Synonyms for vesnin_brothers or Related words with vesnin_brothers

ivan_fomin              konstantin_melnikov              moisei_ginzburg              alexander_vesnin              ilya_golosov              alexey_shchusev              ivan_zholtovsky              vesnin              vladimir_shchuko              victor_vesnin              shchuko              boris_iofan              el_lissitzky              rodchenko              lissitzky              joseph_bové              vladimir_tatlin              igor_grabar              golosov              fyodor_schechtel              nikolai_ladovsky              isaak_brodsky              rudolf_frentz              ladovsky              melnikov              baranovsky              piotr_belousov              rerberg              aleksandr_gerasimov              mikhail_avilov              boris_ioganson              rusakov              bazhenov              ivan_rerberg              zholtovsky              kuzma_petrov_vodkin              voronikhin              narkomfin_building              aleksandra_ekster              aleksei_gritsai              suprematist              pyotr_konchalovsky              shchusev              tsentrosoyuz              vkhutein              vera_mukhina              ivan_starov              dmitry_kardovsky              varvara_stepanova              kazimir_malevich             



Examples of "vesnin_brothers"
The natives of Yuryevets include the Vesnin brothers. Film-maker Andrey Tarkovsky spent his childhood years there.
Alexander Alexandrovich Vesnin, father of the Vesnin brothers, came from a Nizhny Novgorod merchant family. Shortly after marriage he relocated to his wife's home town Yuryevets on the Volga River where he established a distillery. The business ran successfully until the 1905 Russian Revolution; the Vesnins were wealthy enough to provide high school and graduate level education to all their children. The historical Vesnin House in Yuryevets became the Vesnin brothers museum in 1986.
In 1912–1913 she studied art with Nadezhda Udaltsova in Paris, where she met Alexander Archipenko and Ossip Zadkine in 1913. After returning to Russia that same year, she worked with Tatlin, Udaltsova and the Vesnin brothers.
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.
In 1924, Golosov was profoundly impressed by Vesnin brothers designs of Arkos and Leningrad Pravda. Unlike his brother Panteleimon, he not joined the constructivist movement, the OSA Group at its inception in December, 1925. Golosov's designs of this period feature carefully thought-out exterior glass walls, emphasizing inner structure of the "dominant shape". Apart from numerous contest entries, Golosov won many practical commissions. Like the Vesnin brothers, he had a formal pre-revolutionary education and engineering experience, helping him win the real jobs. Unlike theorists like Moisei Ginzburg or Ivan Leonidov, Golosov was busy with actually managing construction sites, and abstained from theoretical the debates of 1925-1929.
The Narkomtiazhprom (NKTP, Russian: Наркомтяжпром) is a portmanteau for the People's Commissariat of Heavy Industry that was conducting a 1934 architectural design contest for the building of the People's Commissariat of Construction of Heavy Industry, constructed in Red Square, Moscow. Notable entrants included Ivan Leonidov, Konstantin Melnikov, Vesnin brothers and Ivan Fomin.
The first public constructivist building actually built in Moscow by the Vesnin brothers, a 1927 department store in Presnensky District, was a scaled-down clone of their 1925 TsUM department store draft. It was followed by the Institute of Mineral Resources building in Zamoskvorechye District (1928) and a theater on Povarskaya Street (designed in 1929–1930, completed in 1931–1934).
A central aim of the Constructivists was instilling the avant-garde in everyday life. From 1927 they worked on projects for Workers' Clubs, communal leisure facilities usually built in factory districts. Among the most famous of these are the Kauchuk, Svoboda and Rusakov clubs by Konstantin Melnikov, the club of the Likachev works by the Vesnin brothers, and Ilya Golosov's Zuev Workers' Club.
With the advent of stalinist architecture and a crackdown on independent professional unions (1932) Nikolaev, like Vesnin brothers and other OSA Group architects, switched to industrial architecture and was not involved in high-profile public projects anymore. His better known projects of 1930s-1940s were built for the textile industry, including the 1935 Kayseri Sumerbank factory in Turkey.
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.
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.
He was the head, along with Moisei Ginzburg, of the Constructivist OSA Group. Among the completed buildings designed by the Vesnin brothers in the later 1920s were department stores, a club for former Tsarist political prisoners as well as the Likachev Works Palace of Culture in Moscow. Vesnin was a vocal supporter of the works of Le Corbusier, and acclaimed his Tsentrosoyuz building as 'the best building constructed in Moscow for a century'. After the return to Classicism in the Soviet Union, Vesnin had no further major projects.
The first tangible building by Vesnin brothers, designed for Boris Velikovsky's firm, was a neoclassical six-storey apartment block on Myasnitskaya Square, completed in 1910. One year earlier, Leonid obtained an architect’s licence and the brothers went independent. Their first building, the City Post Office on the same Myasnitskaya Street, was based on an earlier draft by Oscar Muntz, was approved for construction in 1911 and completed in 1912. The Vesnins retained the original planning and redesigned the facades in an eclectic Romanesque-Byzantine style.
The Vesnin brothers actively participated in all public architectural competitions of 1932–1936 (Palace of Soviets, Narkomtiazhprom, STO building in Moscow and Government of Ukraine compound in Kiev), but lost all their bids to revivalist architects. Leonid died in October 1933, soon after the Palace of Soviets competition sealed the demise of constructivism. A street in Moscow (former and current Denezhny Lane) where he lived was named in his honour from 1933 to 1991. Alexander and Victor recruited the young revivalist architect Sergey Lyaschenko, who became the style expert of the firm as Alexander gradually withdrew from practical architecture.
After this brief synthesis, Neo-Classical reaction was totally dominant until 1955. Rationalist buildings were still common in industrial architecture, but extinct in urban projects. Last isolated constructivist buildings were launched in 1933–1935, such as Panteleimon Golosov's "Pravda" building (finished 1935), the Moscow Textile Institute (finished 1938) or Ladovsky's rationalist vestibules for the Moscow Metro. Clearly Modernist competition entries were made by the Vesnin brothers and Ivan Leonidov for the Narkomtiazhprom project in Red Square, 1934, another unbuilt Stalinist edifice. Traces of Constructivism can also be found in some Socialist Realist works, for instance in the Futurist elevations of Iofan's ultra-Stalinist 1937 Paris Pavilion, which had Suprematist interiors by Nikolai Suetin.
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).
Another school that began after the Revolution is now known as Constructivism. Some of the Constructivists (like the Vesnin brothers) were young professionals who had established themselves before 1917, while others had just completed their professional education (like Konstantin Melnikov) or didn't have any. They associated themselves with groups of modern artists, compensating for lack of experience with public exposure. When the New Economic Policy began, their publicity resulted in architectural commissions. Experience was not gained quickly, and many constructivist buildings were justly criticized for irrational floorplans, cost overruns and low quality.
The National Film Actors' Theatre or State Theatre of Cinema Actors (Russian - Государственный театр киноактёра) is a theatre company in Moscow, Russia, founded in December 1943 by the Council of People's Commissars to train film directors and film actors and to provide work for film actors between shoots. It is housed in a building originally built as a house of culture for political prisoners by two of the Vesnin brothers between 1931 and 1935. It is located at 33 Povarskaïa Street in the north of the Arbat District in the Central Administrative Okrug. Since 2013 its director has been V. Baycher.
The Vesnin brothers were selected as one of thirteen teams invited to the third round of Palace of Soviets contest (1932). The complex composition of cylindrical and prismatic shapes connected by skywalk galleries clearly borrowed from their earlier Palace of Soviets. According to Khan-Magomedov, it was marginally inferior to competing modernist entries by Ladovsky and Ginzburg. For the fourth (and last) stage the Vesnins radically redesigned their proposal; this time, all parts of the building merged into a single monolithic volume. The Vesnins apparently reversed to the despised "constructive style", blending constructivist styling with a monumental structure more appropriate of stalinist architecture.
Viktor Aleksandrovich Vesnin (Russian:Виктор Александрович Веснин, 1882–1950), was a Russian Soviet architect. His early works (1909–1915) follow the canon of Neoclassicist Revival; in 1920's, he and his brothers Leonid (1880–1933) and Alexander (1883–1959) emerged as leaders of Constructivist architecture, the "Vesnin brothers". After the crackdown on Constructivism in 1931-32 and until his death, Viktor Vesnin was the highest-ranked architect in Soviet system, heading the Union of Soviet architects and Academy of Architecture. As a lead architect for heavy construction, he supervised many industrial projects, but his own visionary drafts of this period never materialized.