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Eternal and actual topics will be handled

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“ the phenomenon of Vitebsk art movement that existed only few years,

but made the provincial town world known till nowadays ”

" the art | artist & the society "

" the meaning and value of art education ”

“ how the avant-garde art aroused from those times? ”

 

 

Additional context and visual reliefs

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The new analytical stare re-reading pure archives, exploring the video content of Vitebsk from nowadays & the art works of the representatives of the Vitebsk art movement will shed a new light on 1918-1922 years…

The narrations of the art historians, artist's successors, witnesses, will help to reveal interesting facts that not published yet and enrich the story...

The influence of a revolution & the social life on art will be disclosed.

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Narrations examples:

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Sergei Lissitzky - El Lissitzky's grandson narration:

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"Hundred years ago, my grand father El Lissitzky in his work with the space and the images, was foreseeing the future 3d graphic art, or for example his Proun projects are kind of the prototypes of today’s computer graphics... He foresaw the future a hundred years ago... "

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​After such a statement of Sergej Lissitzky, we facing the important question:
Did Chagall, Malevitch, Lissitzky and others founders of the Vitebsk art school were foreseeing the future in a way, that that they understood how important is to educated the masses of people, especially in the deep provinces?
Maybe through the art they tried to develop in those people not only the ability to express them through the art... but also the ability to analyze the reality and to develop the free spirit…

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Non-conformist artist that lives in Paris - Oscar Rabine is one of the witnesses, who new some of Malevitch’s students, sharing his memories:

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" During the period when I still lived in a former USSR, 60th years, I knew some of Malevich’s & Chagall’s students students… Ones I asked one of them, how those students from small provincial town could understand the avant-garde?  And the former Malevich’s student answered to me: “You know… even the simple people from the villages understood avant-garde art very quickly... It was the simple and primitive forms, as the lines, circles, triangles made often in bright colors, so it was clear for them… For example, I remember some of provincial students while describing the famous El Lissitzky’s painting “Beat the Whites with the Red Wedge” were associating the big white circle with a "rich and fat bourgeois" and the red triangle with the silhouette & movement of the red army..."

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