VKHUTEMAS – Sculpture Faculty
Deans: Korolev (1920-1923), Chaikov (1923-1929), M.G. Belashov (1930).
In 1926 the faculty of sculpture was merged with the faculty of ceramics, but a year later they were separated again.
Innovative tutors played an active role at the faculty. The main ideologist and methodologist of the faculty was Korolev. Sculpture was taught by Babichev. Until 1923 sculptural classes were led by Lavinsky, until he moved to the woodwork faculty (as an active supporter of industrial art). Korolev advocated the application of formal principles to figurative forms, his programs became the basis of the faculty’s activity. After his departure from VKHUTEMAS, these ideas were largely continued by Chaikov. At the end of the 1920s there was a growing interest among students in the links between sculpture and architecture, which coincided with the attitude of the Rector Novitsky to move away from easel art.
The small in student numbers faculty was not divided into departments, all disciplines were common to all students. Artists-sculptors were qualified to perform monumental, decorative, easel and portrait sculpture. The main and most prestigious direction was monumental sculpture. The final curriculum included four main topics: “The principle of round sculpture”, “Features of the construction of relief”, “The principle of plastic portrait”, “The principle of monumental sculpture”.
At different times among faculty tutors were: Babichev, Belashov, Bulakovsky, Volnukhin, Golubkina, I. Efimov, A. Zholtkevich, S. Konenkov, Korolev, Lavinsky, Mukhina, Ravdel, A. Teneta, Tchaikov, N. Yasinovsky and others, theory of composition was taught by Favorsky, drawing – Pavlinov, Rodionov, formal principles of architecture in the application to the tasks of plasticity – Dokuchayev.
In total 75 artists-sculptors graduated from the faculty.
(On the materials of the article by N. Adaskina VKHUTEMAS-VKHUTEIN // Encyclopedia of Russian Avant-garde Fine Art Architecture, Volume III History. Theory, Book 1. – P.102-111).