The fame acquired as a painter by the Russian artist Alexander Rodchenko in the first decades of the 20th century is mainly due to his character as an imitator of another painter of his compatriot,Kasimir Malevich and his Suprematist compositions.
The truth is that his work has greater quality and personality in the sculptures he made and above all in the modern photomontages that he conceived and made for the Lef magazine, edited between 1923 and 1930.
Color sphere and Rodchencko circle
In other words, Alexandre Rodchenko throughout his life (born in 1891 and died in 1956) was a painter, sculptor, photographer, graphic designer, set designer and even an architect, that is, a total and multidisciplinary artist and very restless. He considered that artists had to be people who, above all, had to be capable of "building" something useful for society, and not pronounce a resounding sentence in which he declared the death of easel painting.
In his constructivist images a great sharpness can be seen and they are always composed from a dynamic axis based on the diagonals, and the high or low angle perspectives, and from those elements build their geometric shapes.
However, despite being artistically related to Kasimir Malevich, Rodchenko stood up to him. And he opposed their waysconstructivists to the Suprematism of Malevich, in fact he even painted his painting Black on Black in 1918, with which he responded to one of the most famous works by Malevich White on White, who in turn some time ago had produced a work en titled Suprematist Destroyer of Constructivist Form, whose title makes clear the artistic confrontation between these two personalities of Russian avant-garde art.
That is why calling Rodchenko a simple imitator of Malevich can sometimes seem like proof of ignorance of the history of the moment and the personal egos of each of those artists. Such a rivalry, which shows us as one more manifestation of the cultural effervescence that existed in Europe during the artistic avant-gardes of the first decades of the 20th century. A moment for art in which pictorial and artistic currents in general diversified, each one of the creators wanting their works and theories to make them the inventor of new movements and styles, each one more innovative and at odds with their contemporaries.. Because the truth is that as soon as the first abstract works and cubist were created, a hitherto unimaginable artistic vein was opened, in which by For the first time in the History of Art, figuration and reality were no longer important, and theorizing about art, color, shapes and light took on an unusual role.