Скачать или смотреть BERLINISCHE GALERIE MUSEUM FÜR MODERNE KUNST [walkthrough]

Ivan Puni came to Berlin in 1920 and stayed for three years before eventually settling in Paris. After the First World
War Berlin attracted thousands of artists from Eastern Europe, who were fleeing their homes after the Russian Revolution of 1917. In Russia, Puni had organised major exhibitions by the Russian avant-garde, revealing the shift from cubism and futurism to non-representational suprematism. He made his "Synthetic Musician" in Berlin.
it evokes the actor Charlie Chaplin
(1889-1977), combining representational forms with abstract stylistic elements.

A Hub Between
East and West
Constructivism and the New Vision in the 1920s
In the early 1920s Berlin became a cultural hub between East and West, a meeting place for artists from Germany, the Netherlands and Eastern Europe. They shared a commitment to a modern, abstract art. Geometric shapes, strong colours and industrial materials celebrated the aesthetic of a new age. Influenced by revolutionary ideas from Russia, some artists saw themselves as engineers.
Berlin's First Russian Art Exhibition at
Galerie van Diemen in 1922 introduced the city to constructivism.
The 1920s also brought a movement in photography that no longer tried to imitate reality. These New Vision photograohers developed their own artistic styles and challenged habitual ways of seeing. They stopped pursuing the standards set for painters and instead consciously exploited their technology in unconventional and experimental ways.

Art critic Paul Westheim (1886-1963).
like Herwarth Walden (1878-1941)
provided important support for the painter Ivan Puni. This still life used to be in Westheim's collection. As a Jew and an uncompromising champion of modernist art, Westheim was at risk from the moment the Nazis took pow He fled to Paris, leaving the painting in Berlin with his life partner, art historiar Charlotte Weidler (1895-1883). She emigrated to New York in 1909. Sorry years after Westheim's death she left the work with the Leonard Hutton Galleries. A Swiss collector acquired it and gifted it to the Berlinische Galerie in 1988.

Naum Gabo was a trailblazer for modernist art. In the late 1910s he broke with the traditional concept of sculpture.
The body in his "Constructive Torso" was put together from interlocking surfaces. Instead of mass and a contained volume, Gabo used the interplay of light and shadow, gaps and voids. In Berlin in 1922, he exhibited a version of the torso welded from iron sheets. It has been lost ever since, but the 1:1 cardboard model resurfaced after Gabo's death. The artist, emigrating from one place to the next, had dismantled it and stored the pieces in a sea chest.

El Lissitzky is one of the most significant artists to emerge from the Russian avant-garde. Between 1919 and 1925, influenced by fellow artist Kazimir Malevich (1878-1935), Lissitzky produced paintings, drawings and reliefs which he called "Proun", a term based on the name of a Russian project for the affirmation of new art.
Lissitzky arrived in Berlin in late 1921.
By spring 1922 his radical geometric compositions were being shown in Germany for the first time by the Novembergruppe ("November Group").
The Proun Room reconstructed here was made for the Great Berlin Art
Exhibition in 1923.