358:
and aesthetics of everyday life as seen on the high street. Stepanova wrote in her 1925 course plan that this was done "with the goal of devising methods for a conscious awareness of the demands imposed on us by new social conditions". Lyubov Popova was also a member of the textile faculty, and in 1922, when hired to design fabrics for the First State
Textile Print Factory, Popova and Stepanova were among the first women designers in the Soviet textile industry. Popova designed textiles both with asymmetrical architectonic geometries, and also work that was thematic. Before her death in 1924, Popova produced fabrics with grids of printed
252:—exhibited at Vkhutemas as early as 1921. While constructivism was ostensibly developed as an art form in graphics and sculpture, it had architecture and construction as its underlying subject matter. This influence pervaded the school. The artistic education at Vkhutemas tended to be multidisciplinary, which stemmed from its origins as a merger of a fine arts college and a craft school. A further contributor to this was the generality of the basic course, which continued after students had specialised and was complemented by a versatile faculty. Vkhutemas cultivated
291:, that in 1926, 1927, and 1928, required a student body composition "of worker and peasant origins", and several demands for "working class" elements. This push for design economy resulted in a tendency towards working, functional designs with minimised luxuries. Tables designed by Rodchenko were equipped with mechanical moving parts, and were standardised and multi-functional. The products designed at Vkhutemas never bridged the gap between workshops and factory production, although they cultivated a factory
421:, published in 1922, provided a theoretical link between the new emerging art and contemporary politics, connecting constructivism with the revolution, and Marxism. The founding decree included a statement that students have an "obligatory education in political literacy and the fundamentals of the communist world view on all courses". These examples help justify the school's projects in terms of the early political requirements but others would arise throughout the school's existence.
434:
design, and architecture. Vkhutemas was a larger school than the
Bauhaus, but it was less publicised and consequently, is less familiar to the West. Vkhutemas's influence was expansive however—the school exhibited two structures by faculty and award-winning student work at the 1925 Exposition in Paris. Furthermore, Vkhutemas attracted the interest and several visits from the director of the
31:
344:
The dean of this department was
Alexander Rodchenko, who was appointed in February 1922. Rodchenko's department was more expansive than its name would suggest, concentrating on abstract and concrete examples of product design. In a report to the rector of 1923, Rodchenko listed the following subjects
357:
The textile department was run by the constructivist designer
Varvara Stepanova. In common with other departments, it was run on utilitarian lines, but Stepanova encouraged her students to take an interest in fashion: they were told to carry notebooks so that they could note the contemporary fabrics
283:
industrial department at
Vkhutemas endeavored to create products of viability in the economy and functionality found in society. Class-based political requirements steered artists toward crafts, and the designing of household or industrial goods. There was significant pressure in this respect by the
94:
with the intentions, in the words of the Soviet government, "to prepare master artists of the highest qualifications for industry, and builders and managers for professional-technical education". The school had 100 faculty members and an enrollment of 2,500 students. Vkhutemas was formed by a merger
149:
A preliminary basic course was an important part of the new teaching method that was developed at
Vkhutemas, and was made compulsory for all students, regardless of their future specialization. This was based on a combination of scientific and artistic disciplines. During the basic course, students
433:
in its intent, organization and scope. The two schools were the first to train artist-designers in a modern manner. Both schools were state-sponsored initiatives to merge the craft tradition with modern technology, with a Basic Course in aesthetic principles, courses in color theory, industrial
487:
in 1926. It was under
Novitsky's tenure that external political pressures increased, including the "working class" decree, and a series of external reviews by industry, and commercial organisations of student works' viability. The school was dissolved in 1930, and was merged into various other
345:
as being offered: higher mathematics, descriptive geometry, theoretical mechanics, physics, the history of art and political literacy. Theoretical tasks included graphic design and "volumetric and spatial discipline"; while practical experience was given in foundry work, minting, engraving and
282:
The industrial faculties had the task of preparing artists of a new type, artists capable of working not only in the traditional pictorial and plastic arts but also capable of creating all objects in the human environment such as the articles of daily life, the implements of labor, etc. The
235:
The primary movements in art which influenced education at
Vkhutemas were constructivism and suprematism, although individuals were versatile enough to fit into many or no movements—often teaching in multiple departments and working in diverse media. The leader figure of suprematist art,
386:. There he first viewed avant garde art, such as suprematist painting. He did not wholly approve of it, expressing concern over the connection between the student's art and politics. After the discussion, Lenin was accepting and stated, "Well, tastes differ" and "I am an old man".
274:, who was head of a workshop on colour theory, also moved from painting and sculptural works to exhibition stands and kiosks. El Lissitzky, who had trained as an architect, also worked in a broad cross section of media such as graphics, print and exhibition design.
349:. Students were also given internships in factories. Rodchenko's approach effectively combined art and technology, and he was offered the deanship of Vkhutein in 1928, although he refused. El Lissitzky was also a member of the faculty.
103:. The workshops had artistic and industrial faculties; the art faculty taught courses in graphics, sculpture and architecture while the industrial faculty taught courses in printing, textiles, ceramics, woodworking, and metalworking.
304:
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published in German in 1930 featured several illustrations of
Vkhutemas/Vkhutein projects. Both schools flourished in a relatively liberal period, and were closed under pressure from increasingly totalitarian regimes.
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162:'s basic course, which all first-year students were required to attend, it gave a more abstract foundation to the technical work in the studios. In the early 1920s this basic course consisted of the following:
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masters in the
Renaissance mold, many with achievements in graphics, sculpture, product design, and architecture. Painters and sculptors often made projects related to architecture; examples include
284:
141:
The school was dissolved in 1930 following political and internal pressures throughout its ten-year existence. Its faculty, students, and legacy were dispersed into as many as six other schools.
299:, and Tatlin even designed worker's industrial apparel. Furniture pieces constructed at Vkhutemas explored the possibilities of new industrial materials such as plywood and tubular steel.
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479:), or Vkhutein. Under this reorganisation, the 'artistic' content of the basic course was reduced to one term, when at one point it was two years. The school appointed a new rector,
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158:. Drawing was considered a foundation of the plastic arts, and students investigated relationships between color and form, and the principles of spatial composition. Akin to the
96:
475:, which stated that the school was "disconnected from the ideological and practical tasks of today". In 1927, the school's name was modified: "Institute" replaced "Studios" (
130:, in one of the great revolutions in the history of art. In 1926, the school was reorganized under a new rector and its name was changed from "Studios" to "Institute" (
100:
876:
650:"подготовить художников-мастеров высшей квалификации для промышленности, а также конструкторов и руководителей для профессионально-технического образования"
442:. With the internationalism of modern architecture and design, there were many exchanges between the Vkhutemas and the Bauhaus. The second Bauhaus director
492:
in 1933. The Modernist movements which Vkhutemas had helped generate were critically considered as abstract formalism, and were succeeded historically by
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652:– Собрание узаконений и распоряжений Рабочего и Крестьянского Правительства, 1920, 19 декабря, № 98, ст. 522, с. 540 – Great Soviet Encyclopedia,
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Although Lenin was not an enthusiast for avant garde art, the Vkhutemas faculty and students made projects to honor him and further his politics.
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328:. As a new generation of artist/designers, the students and faculty at Vkhutemas paved the way for designer furniture by architects such as
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architecture. One focus of criticism was the "nakedness" of the structure, in comparison to other luxurious pavilions such as that by
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which foretold of Vkhutemas's closure. It was in response to students' failure to gain a foothold in industry and was entitled,
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There were many successes for the departments, and they were to influence future design thinking. At the 1925
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of the Bauhaus collaborated with various Vkhutein members on the use of colour in architecture. In addition,
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programs. One such merger was with MVTU, forming the Architectural-Construction Institute, which became the
320:. Alexander Rodchenko designed a worker's club, and the furniture that the Wood and Metal Working Faculty (
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378:. Three months after its founding, on 25 February 1921, Lenin went to Vkhutemas to visit the daughter of
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and to converse with the students, where in a discussion about art he found an affinity among them for
75:"Higher Art and Technical Studios") was the Russian state art and technical school founded in 1920 in
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The Breakdown of VKhUTEMAS: Report on the Condition of the Higher Artistic and Technical Workshops
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Vladimir Lenin signed a decree to create the school, although its emphasis was on art rather than
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270:. Artists moved from department to department, such as Rodchenko from painting to metalworking.
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was built by students and displayed at their workshop in Saint Petersburg. Furthermore,
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Alfred H. Barr, Jr., and the Intellectual Origins of the Museum of Modern Art
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and its contents attracted both criticism and praise for its economic and
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The responsible object : a history of design ideology for the future
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Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West,
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Imagine no Possessions – the Socialist Objects of Russian Constructivism
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61:
30:
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The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917–1946
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The great utopia : the Russian and Soviet avant-garde, 1915-1932
362:, which would predate work by others in the political climate of the
305:
Exposition Internationale des Arts Décoratifs et Industriels Modernes
241:
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76:
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Avant-Garde as method Vkhutemas and the pedagogy of space, 1920–1930
240:, joined the teaching staff of Vkhutemas in 1925, though his group—
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Twentieth-Century Pattern Design: Textile & Wallpaper Pioneers
155:
127:
29:
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Bolshevik Culture: Experiment and Order in the Russian Revolution
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attempted to organise an exchange between the two schools, while
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Modernism's History: A Study in Twentieth-Century Art and Ideas,
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Russian Avant-Garde: Theories of Art, Architecture, and the City
878:Взаимодействие архитектуры и левого изобразительного искусства
467:
As early as 1923, Rodchenko and others published a report in
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Universities and institutes established in the Soviet Union
1333:"Institutionalizing the Avant-Garde: Vkhutemas 1920–1930."
1311:
VKhUTEMAS (Higher State Artistic and Technical Workshops)
824:
Farewell to an Idea: Episodes from a History of Modernism
970:, Academy Editions, 1995, (Cooke, 1995), pp.168,172–173.
136:
Vkhutein, Vysshiy Khudozhestvenno-Tekhnicheskii Institut
981:
Soviet State and Society Between Revolutions, 1918–1929
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A New Design Philosophy an Introduction to Defuturing
97:
Moscow School of Painting, Sculpture and Architecture
106:
Vkhutemas was a center for three major movements in
905:Oxford University Press, 2002, Pages 110, 125–126,
563:. Amsterdam: Valiz; Melbourne: Ueberschwarz, 2016.
393:'s final project at Vkhutemas was his design for a
73:
Vysshiye Khudozhestvenno-Tekhnicheskiye Masterskiye
755:
753:
477:Вхутеин, Высший художественно-технический институт
132:Вхутеин, Высший художественно-технический институт
1066:, Indiana University Press, 1985, Pages 209–210,
1343:"Vkhutemas - A Russian Laboratory of Modernity."
1089:, Princeton Architectural Press, 2002, Page 55,
950:, University of Chicago Press, 1997, Pages 4–5,
1407:Educational institutions disestablished in 1930
983:, Cambridge University Press, 1992, Page 114,
1062:Abbott Gleason, Peter Kenez, Richard Stites,
589:
587:
585:
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456:Russia – an Architecture for World Revolution
429:Vkhutemas was a close parallel to the German
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1402:Educational institutions established in 1920
1213:, Harvard University Press, 1995, Page 215,
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895:
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1304:, Collection Inventories and Finding Aids,
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920:
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718:Painting and Sculpture in Europe, 1880–1940
68:Высшие художественно-технические мастерские
1211:Moscow: Governing the Socialist Metropolis
804:Kazimir Malevich 1878–1935 and suprematism
1190:, Yale University Press, 1999, Page 244,
856:Oxford University Press, 1999, Page 188,
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843:
841:
839:
826:, Yale University Press, 1999, Page 268,
557:van Helvert, Mariane and Andrea Baldoni.
166:the maximal influence of color (given by
34:Architecture at Vkhutemas, book cover by
1275:Российское направление развития дизайна.
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996:
786:, Museum of Modern Art, 2005, Page 273,
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663:
27:Former design school in Moscow (1920–30)
1129:Yale University Press, 1998, Page 166,
579:
745:Encyclopedia of the Russian Avantgarde
547:. New York: Guggenheim Museum, 1992.
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7:
747:, Minsk: Ekonompress, 2003, page 83.
541:Solomon R. Guggenheim Museum et al.
400:Monument to the Third International
90:were established by a decree from
25:
1321:Vkhutemas: The ‘Soviet Bauhaus’".
928:The Soviet Photograph, 1924–1937,
854:Sculpture 1900–1945: After Rodin,
483:, who took over from the painter
308:in Paris, the Soviet pavilion by
1417:Modernist architecture in Russia
1292:Canadian Centre for Architecture
1247:Moscow Architectural Institute,
1188:The Challenge of the Avant-Garde
1150:The Tradition of Constructivism,
395:Lenin Institute of Librarianship
201:simultaneity of form and color (
101:Stroganov School of Applied Arts
409:was designed by faculty member
397:. A model of Vladimir Tatlin's
1377:Architecture schools in Russia
1348:. Published December 28, 2014.
1152:Da Capo Press, 1990, Page xl,
700:, UNSW Press, 1999, Page 161,
490:Moscow Architectural Institute
1:
1422:1920 establishments in Russia
1046:, MIT Press, 2005, Page 122,
930:Yale University Press, 1996,
215:history of the Western arts (
150:had to learn the language of
95:of two previous schools: the
425:Comparisons with the Bauhaus
1412:Constructivist architecture
1109:MIT Press, 2002, Page 301,
632:Great Soviet Encyclopedia,
531:. Zurich: Park Book, 2019.
1438:
1338:. Published June 19, 2017.
806:, Taschen, 2003, Page 93,
784:Experiments for the Future
696:Tony Fry, Inc NetLibrary,
500:, and the Empire style of
248:art college that included
514:Category:Vkhutemas alumni
224:Wladimir Baranoff-Rossine
67:
47:
1328:. Published May 8, 2015.
1325:The Architectural Review
1306:Getty Research Institute
1290:Vkhutemas, photographs,
1257:October 9, 2007, at the
1253:accessed 2 August 2007.
1250:History of the Institute
609:, Современный Дом, 2002.
1033:Rodchenko, 2005, p.194.
1024:accessed 1 August 2007.
773:accessed 2 August 2007.
716:George Heard Hamilton,
79:, replacing the Moscow
1011:Museum of Modern Art,
599:Пространство ВХУТЕМАСа
502:Stalinist architecture
340:Metalwork and woodwork
336:later in the century.
318:Émile-Jacques Ruhlmann
110:art and architecture:
39:
1372:Art schools in Russia
1336:The Walker Art Center
1313:, Art & Artists,
979:Lewis H. Siegelbaum,
782:Alexander Rodchenko,
722:Yale University Press
669:Sybil Gordon Kantor,
369:
268:Spatial Constructions
33:
1387:Constructivism (art)
1302:VKhUTEMAS Collection
926:Margarita Tupitsyn,
903:Modern Architecture,
436:Museum of Modern Art
364:first five-year plan
187:color on the plane (
173:form through color (
126:with an emphasis on
57:[fxʊtʲɪˈmas]
1392:Education in Moscow
1382:Russian avant-garde
1238:Cooke, 1995, p.168.
1229:Cooke, 1995, p.173.
1177:Cooke, 1995, p.161.
1002:Cooke, 1995, p.143.
360:hammers and sickles
310:Konstantin Melnikov
196:Alexander Rodchenko
1168:Cooke, 1995, p.89.
1105:Susan Buck-Morss,
1020:2007-08-17 at the
1014:Worker's Club 1925
884:2008-06-03 at the
769:2007-09-10 at the
724:, 1993, page 315,
605:2007-09-28 at the
498:postconstructivism
278:Industrial faculty
266:, and Rodchenko's
210:Nadezhda Udaltsova
175:Alexander Osmerkin
40:
1207:Timothy J. Colton
1042:Christina Kiaer,
966:Catherine Cooke,
946:Victor Margolin,
494:socialist realism
485:Vladimir Favorsky
406:Lenin's Mausoleum
285:Central Committee
208:volume in space (
182:Aleksandra Ekster
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370:Lenin's visit
367:
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347:electrotyping
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314:working class
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1272:M. Klyuev,
1186:Paul Wood,
440:Alfred Barr
334:Alvar Aalto
231:Art faculty
120:suprematism
116:rationalism
108:avant garde
1361:Categories
575:References
415:Alexei Gan
326:Grand Prix
222:tutelage (
189:Ivan Kliun
156:chromatics
1367:Vkhutemas
1346:Metalocus
675:MIT Press
322:Дерметфак
297:Stepanova
295:—Popova,
293:aesthetic
244:, of the
88:workshops
43:Vkhutemas
18:VKhUTEMAS
1255:Archived
1018:Archived
882:Archived
767:Archived
677:, 2002,
655:Вхутемас
635:Вхутемас
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508:See also
463:Vkhutein
454:'s book
417:'s book
384:Futurism
353:Textiles
254:polymath
124:geometry
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431:Bauhaus
376:Marxism
287:of the
246:Vitebsk
160:Bauhaus
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