The great Russian artist Varvara Fedorovna Stepanova (1894-1958) delved into a wide range of artistic currents from social realism to symbolism. However, she is primarily known for exploring and promoting constructivism.

The new abstract art in Russia began around 1909; some say that real constructivism began in 1919 when Rodchenko first mentioned it. The term was actually used by Russian artists themselves. Somehow, he was influenced by Cubism, Italian/Russian Futurism, and traditional peasant art. Constructivist artwork is characterized by abstract geometric forms and a technique in which various materials, often industrial in nature, are assembled rather than carved or modelled.

Constructivism replaced traditional art with social-instrumental art. Artists in this field invited their audiences to be active viewers of their artwork. In line with this vision, they were innovators in fine art painting; but also in objects built in 3D; typographic design including posters; textiles and fashion designs, furniture and theater sets and costume design.

Constructivist leading artist Stepanova expressed her wide range of talents in all of these mediums and art mediums. For a long time, Varvara substituted painting for production art. She worked with functional materials manufactured in an equal relationship between artist and industrial worker, with the aim of bringing art to life.

Stepanova carried out her ideal of engaging in industrial production and designed comfortable clothing to facilitate the movement of workers. She used bold fabrics in geometric patterns that suited industrial printing methods. Her modernist practicality combined with her sophistication made her popular in Paris in the mid-1920s.

Although of peasant origin, Varvara went to the Kazan Art School in Odessa. There she met her lifelong art collaborator and later her future husband, Alexander Rodchenko. She moved to Moscow in 1912 with Rodchenko to attend the Stroganov School.

Together, Stepanova and Rodchenko became an important part of the Russian artistic avant-garde, both in terms of their collaborations and each in their own right. An example of a collaborative artwork with Rodchenko is the Museum of Modern Art in New York.* Both artists viewed the art experience as public communication rather than private introspection.

The couple was involved with many influential artists of that time. Before the Russian Revolution, around 1917, they shared an apartment with Wassily Kadinsky in Moscow and met many other famous Russian artists.

In the early parts of his career, Varvara loved Futurist poetry. He autonomously developed what became known as ‘non-objective visual poetry’. An example of ‘non-objective visual poetry’ is presented at MoMA. It’s called ‘Gaust chaba’, 1919. * This is a watercolor handwritten text on found newspaper sheets.

Stepanova designed Cubo-Futuristic artwork for use in artists’ books. This type of artwork combines the cubist use of forms. At the same time, she embraces the futurists’ passionate hatred of the ideas of the past, especially political and artistic traditions, and love of action and technology. She participated in world-famous art shows, including the ‘Fifth Estate Exhibition’ and ’10th Estate Exhibition’ in 1919, and the ‘5×5 = 25 Exhibition’ in Moscow in 1921.

Many of her works present figures that she shows as robotic, efficient and dynamic, that is, new socialist human beings. In one of her most famous works, ‘The Billiard Players’, Stepanova describes mechanical action and emotional states simultaneously.

Even more than her husband’s work, Stepanova’s work in the 1920s epitomized the Russian avant-garde. Her constructivism flourished until the mid-1930s. From 1920 to 1925, Varvara taught at the Krupskaia Academy of Social Education.

* Direct links to these artwork samples can be found at http://www.eArtfair.com

copyright A. Lee, 2008 – all rights reserved.