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Vladimir Tatlin

Russian Architect, Painter, and Sculptor

Vladimir Tatlin Photo
Born: December 28, 1885
Kharkov, Russian Empire
Died: May 31, 1953
Moscow, Russia
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In the squares and in the streets we are placing our work convinced that art must not remain a sanctuary for the idle, a consolation for the weary, and a justification for the lazy. Art should attend us everywhere that life flows and acts.
Vladimir Tatlin

Summary of Vladimir Tatlin

Vladimir Tatlin 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 20th century, the attempt to bring art to the service of everyday life.

Key Ideas

Biography of Vladimir Tatlin

Vladimir Tatlin Photo

Vladimir Tatlin was born in 1885 in Moscow. He grew up in the Ukraine and attended school in Kharkiv. His father was a railway engineer and his mother was a poet. At a young age, Tatlin left home to work as a merchant sea cadet. He traveled to places such as Turkey, Egypt, Asia Minor, Greece, Italy, and Bulgaria, continuing his adventures at sea intermittently until around 1915.

Important Art by Vladimir Tatlin

The Sailor: Self-Portrait (1911)

The Sailor: Self-Portrait (1911)

In his self-portrait as a sailor, Tatlin displays an early interest in mixed media. He combined different textures of paint, applying it heavily in certain areas and allowing for thin strokes in others. His subject is centered and monumental with respect to the background objects and other figures in the painting, making him the obvious focus and most important feature. These features especially link the work to his prior experience with religious icons. Also in the style of icons, the central figure is flatly rendered and pressed close to the picture plane. The background figures are dark silhouettes, and their considerably smaller size is the only suggestion of depth in the image. The thick black outlines and bright white highlights are also characteristic of his abstract style.

The Fish Monger (1911)

The Fish Monger (1911)

Here, Tatlin fragments the image and separates it into various planes, using heavy outlines to provide definition. The approach suggests the influence of Cubism, though the picture has none of the sharp geometric lines that typically form the fragmented Cubist image. Instead, Tatlin employs curvilinear lines and rounded forms, and predominantly a palette of three colors. Though this is a representational painting, depth and perspective are skewed and the forms of the figures and objects are simplified and flattened.

The Nude (1913)

The Nude (1913)

The technique and color palette employed in this early painting suggest the influence of traditional Russian woodcuts, icon painting, and folk art. Though there are elements of Cubism in The Nude, such as distorted perspective and the breaking down of forms into planes, it is not a Cubist picture. The image is composed of curvilinear planes and lines, and is pressed close to the picture plane in the fashion of an icon (and the use of curvilinear forms would be something that would continue in Tatlin's work up to and beyond his famous Monument to the Third International). The reduced palette and the use of white highlights and black outlines flatly applied are reminiscent of Russian religious icons. Tatlin might have employed such references in an effort to suggest that the picture offers a new icon to replace the old - an icon for modernity that would incite people to action and bring change to society.

More Important Art
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Content compiled and written by Julianne Cordray

Edited and published by The Art Story Contributors

"Vladimir Tatlin Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Julianne Cordray
Edited and published by The Art Story Contributors
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First published on 01 Aug 2012. Updated and modified regularly
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