At the Telephone

Alexander Rodchenko rejected easel painting on ideological grounds, pioneering abstract compositions with dynamic diagonals and monochrome canvases before turning to graphic design, propaganda posters, and photomontage as tools for integrating art into Soviet mass culture. A central figure in Russian Constructivism and the Productivist movement, he declared painting's logical endpoint with his 1921 series of pure color canvases.

St. Petersburg, Russia