Wood, rosewood, fir, metal
100 õ 64,5
Tatlin’s “counter-reliefs” were a stage of artistic experiment which followed the creative work with shapes in Cubism. The artist saw reliefs in the atelier of Pablo Picasso in Paris and this prodded him to make his own artistic explorations.
What is important in counter-reliefs is the very newness of them. They do not depict anything and are self-sufficient, works of abstract art. A counter-relief is not connected to a picture surface and is an independent three-dimensional construction. The author uses various materials: rosewood, fir and metal, saying in this way that the object of art can be “everything.” Artistic expressiveness is built on the juxtaposition of materials, their properties and surfaces.
In the spirit of Cubo-Futurism theories of man’s being forced out by technology, the “antiquated human psychology” is replaced by “instincts of materials.” The combination of contrasting shapes and materials is reminiscent of some fantastic decorative mechanism which presaged the principles of Constructivism.
at 10, Krymsky Val, Hall 6