Photographs made from above or below or at odd angles are all around us today—in magazine and television ads, for example—but for Rodchenko and his contemporaries they were a fresh discovery. To Rodchenko they represented freedom and modernity because they invited people to see and think about familiar things in new ways. This courtyard certainly was familiar to Rodchenko; he made the picture from the balcony of his own Moscow apartment.
The photograph strikes a perfect balance between plunging depth and a flat pattern—two darker forms enclosing a lighter one—and between this simple pattern and the many irregular details that enliven it. Rodchenko's control over the image is suggested by his particular point of view: to keep the balcony below him from intruding its dark form into the lighter courtyard, he was obliged to lean rather precariously over the railing of his own balcony.
The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 111.
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Aleksandr Rodchenko
Russian, 1891–1956 246 works onlineWhen The Museum of Modern Art’s first director, Alfred H. Barr, Jr. , met Aleksandr Rodchenko on his trip to Moscow in 1927—one of the first times an Anglophone art historian had visited the Soviet Union in the years since the Russian Revolution—he wrote, “Rodchenko showed us an appalling variety of things—Suprematist paintings (preceded by the earliest geometrical things I’ve seen, 1915, done with compass)—woodcuts, linoleum cuts, posters, book designs, photographs, kino sets, etc….
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