Vladimir Stenberg (1899 –1982) and
Georgii Stenberg ( 1900 – 1933) were Soviet artists and designers born in Moscow. They attended the Stroganov School of Applied Art and took classes in military engineering. In the early 1920s, they joined other artists, including Alexander Rodchenko, in an exhibition of constructivist sculpture and painting. The Stenberg's’ contributions were non-objective sculptures of glass, metal, wire, and wood, showing lines and planes floating in space. Their earliest graphic design efforts were for the theater, which the Soviet state-supported as a powerful propaganda tool. They provided inventive and graphic costumes and sets for Moscow Chamber Theater productions by George Bernard Shaw, Eugene O’Neill, and Bertolt Brecht. For one production, the Stenbergs included the names of the characters running down the sides of their costumes.
When the Stenberg brothers turned their attention to film posters, they were influenced by the innovations of Russian and Eastern European designers such as Alexander Rodchenko and László Moholy-Nagy, who had incorporated the technique of photomontage in their work. They were also influenced by the cinematic montage theories of Dziga Vertov and Sergei Eisenstein. The Stenberg's, however, did not use photomontage in a conventional way, in which photographs were transposed onto the lithographic plate and then printed. Instead, they projected photographic images with a special projector they invented; this enabled them to enlarge and distort images and turn them in any direction. This device allowed for greater creativity in achieving unusual compositions of fractured, isolated images of different scales and perspectives.
During their career as poster designers—from 1923 through 1933, when Georgii died in a motorcycle accident—the Stenberg's produced over 50 posters, most of which look as fresh today as they must have appeared at the time. The Stenberg brothers have influenced a range of contemporary graphic designers, from the whole Swiss typography movement, Josef Müller-Brockman, Armin Hofmann, April Greiman, and Dan Friedman, to Saul Bass, and Paula Scher.
© 2019. All content on this blog is protected by international copyright laws All images are copyrighted © by Vladimir Stenberg, Georgii Stenberg or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
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| Vladimir Stenberg and Georgii Stenberg |
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| 1921, The Punch |
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| 1923, A Woman of Paris |
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| 1925, Battleship Potemkin |
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| 1926, Manhunt |
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| 1926, The screw from another machine |
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| 1926, The Traitor |
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| 1926, Three million case |
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| 1927, A Shrewd Move |
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| 1927, Kent's Revenge |
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| 1927, Miss Mend |
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| 1927, Poetand Tsar |
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| 1927, Pounded Cutlet |
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| 1927, Six Girls Seeking Shelter |
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| 1927, The Decembrists |
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| 1927, The General |
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| 1927, The Girl with the Hat Box |
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| 1927, The Street Merchant’s Deed |
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| 1927, The Three Million Case |
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| 1927, Through the Flames |
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| 1927, Zare |
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| 1927, Zvenigora |
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| 1928, A Real Gentleman 2 |
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| 1928, A real gentleman |
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| 1928, Cement |
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| 1928, Forced Labor |
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| 1928, Nepobedimye |
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| 1928, Scandal |
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| 1928, Sporting Fever |
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| 1928, Symphony of a Large City |
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| 1928, The Death Loop |
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| 1928, The Eleventh |
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| 1928, The Mirror of Soviet Society |
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| 1928, The Mystery of the Windmill |
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| 1928, The Sold Appetite |
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| 1929, A Fragment of an Empire |
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| 1929, Chelovek s Kinoapparatom |
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| 1929, Death Loop |
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| 1929, he Last Flight |
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| 1929, he Man with the Movie Camera |
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| 1929, In the Spring |
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| 1929, SEP poster |
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| 1929, SEP poster |
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| 1929, the green alley |
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| 1929, Turksib |
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| 1930, Stroitel'stvo Moskvy |
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