Formation of aesthetic principles of Soviet constructivism: V. F. Stepanova’s artistic experience

In order to define the aesthetic principles of V. F. Stepanova’s work, the study conducts an aesthetic analysis, which allows us to establish the relationship between the experience of the Russian avant-garde artist and the first practices of Soviet construction, which emerged on the basis of the transition of art into a new form of artistic and practical activity – "production art". Visual poetry (objectless poetry supplemented by "colour graphics") and its embodiments in applied synthetic forms – the graphic construction of the Kino-phot magazine – are considered as examples allowing to establish the continuity of the artistic experience of V. Stepanova’s first avant-garde experiments with the constructivist activity of the 1920s. Special attention is paid to the design of platforms and costume for theatre productions, as well as textile products for the 1st chintz factory. The aesthetic features of the emphasised artistic transition in the work of V. Stepanova are deduced on the basis of the analysis of cubo-futuristic and suprematist experiments of the 1910s, which influenced the rethinking of art (in the late 1910s – the first half of the 1920s) and the consolidation of new aesthetic principles of shaping in the experience of constructing the Soviet reality, what should be considered as part of the overall process of development of a new phenomenon – "Soviet design".