the conquest yakov khalip heir to the russian avant garde
The Conquest. Yakov Khalip, Heir To The Russian Avant-Garde
Вашему вниманию предоставляется "The Conquest".
3751 Руб.
The Conquest. Yakov Khalip, Heir To The Russian Avant-Garde
Книга "Покорение. Наследник авангарда Яков Халип" - первая монография, посвященная творчеству одного из самых заметных мастеров фотоавангарда. Эта книга не только мастерстве выдающегося художника, но и о самых важных моментах истории нашей страны, которую Халип тщательно фиксировал. Стиль Халипа - это почерк эпохи, смелой, гордой, непредсказуемой - времени, когда новаторство было естественной формой творческого самовыражения. В книге собраны лучшие работы мастера, отражающие не только его личностное развитие и рост, но и при помощи высокопрофессионального фоторепортажа показывающие полувековую историю России советских времен в ХХ веке. Несмотря на то, что Яков Халип работал для изобразительных изданий, где стояли задачи создания не просто идеологического, а культурно-идеологического продукта, ему удавалось оставаться на территории искусства, а не политики. Халипа называют учеником авангарда, учеником Александра Родченко. В своей статье о Халипе Родченко подчеркивает умение молодого фотографа снимать "красиво". "Если я взялся писать о Халипе, то потому что в его работах есть несомненные достоинства - свежесть приемов, творческие поиски, а главное - будущее", - пишет Родченко о Халипе в журнале "Советское фото". Книга поделена на основные вехи творчества фотохудожника: 1927-1931 Фотограф в кино 1930-е Опыт фотоавангарда 1938 Арктический эпос 1941-1945 Военный фотокорреспондент 1940-1960-е Послевоенный репортаж
3301 Руб.
The Conquest. Yakov Khalip, Heir To The Russian Avant-Garde
Вашему вниманию предоставляется "The Conquest".
3751 Руб.
Фотоальбом.The Conquest.Yakov Khalip,Heir To The Russian Avant-Garde (на англ.яз.)
Вашему вниманию предоставляется "The Conquest".
3751 Руб.
Русский музей: Альбом путеводитель, на английском языке
The Russian Museum was opened in 1895, by a decree of Tsar Alexander III, and as such was the first state owned museum of art in Russia. Housed in the Mikhailovsky Palace (architect C.Rossi), the Museum numbers nearly 400.000 exhibits, and has a huge range of Russian art which rival that of the Tretiakov in Moscow. The exhibits date from ancient icons to the Avant-garde school of painting of the 20th century, and include many landmarks in the history of Russian art, such as Bruillov's 'The Last Day of Pompeii', and Repin's 'The Barge Haulers'.
919 Руб.
Impressionism in Russia
Explore the influence of Impressionism on Russian painters at the end of the 19th century and early 20th century. In the late 19th century, numerous Russian artists found inspiration in the style of French Impressionist painters. Often, a journey to Paris acted as a catalyst for their burgeoning interest in the movement. They developed a preference for working en plein air and aimed to capture transitory effects through a spontaneous and free handling of the brush. Many leading painters of the later Russian avant-garde arrived at their individual styles due to studying the Impressionist use of light. This lavishly illustrated volume explores the many-layered ways French Impressionism influenced the evolution of Russian art from the 1880s to the 1920s, including the work of painters as diverse as Ilya Repin, Valentin Serov, Konstantin Korovin, Natalia Goncharova, and Kazimir Malevich. Essays by many of the leading scholars in the field provide rich new insights into one of the most intriguing chapters of Russian modernism.
7613 Руб.
Revolution: Russian Art 1917–1932
One hundred years after the Russian Revolution, this comprehensive survey explores all aspects of its groundbreaking artOne hundred years after the Russian Revolution, Revolution: Russian Art, 1917–1932 explores one of the most momentous periods in modern world history through its groundbreaking art. The October Revolution of 1917 ended centuries of Tsarist rule and left artists such as Malevich, Tatlin, Popova and Rodchenko urgently debating what form a new “people’s art” would take.Painting and sculpture were redefined by Kandinsky’s boldly innovative compositions, Malevich’s dynamic abstractions and the Constructivists’ attempts to transform art into technical engineering. Photography, architecture, film and graphic design also experienced revolutionary changes. These debates were definitively settled in 1932, when Stalin began to suppress the avant-garde in favor of Socialist Realism?collective in production, public in manifestation and Communist in ideology.Based around a remarkable exhibition shown in Leningrad’s State Russian Museum in 1932?which was to be the swansong of avant-garde art in Russia?this volume explores that revolutionary 15-year period between 1917 and 1932 when possibilities seemed limitless and Russian art flourished across every medium. Published to accompany a major exhibition at the Royal Academy of Arts, London (the first to attempt to survey the entire artistic landscape of post-Revolutionary Russia), Revolution explores the painting, sculpture, photography, film, poster art and product design of the years after the Russian Revolution.Including contributions from some of the most prominent scholars in the field (John Milner, Natalia Murray, Nick Murray, Masha Chlenova, Ian Christie, John E. Bowlt, Nicoletta Misler, Zelfira Tregulova, Faina Balakhovskaya, Evgenia Petrova and Christina Lodder), Revolution is a timely and authoritative exploration of both the idealistic aspirations and the harsh realities of the Russian Revolution and its aftermath.
6650 Руб.
Revolution: Russian Art 1917–1932
One hundred years after the Russian Revolution, this comprehensive survey explores all aspects of its groundbreaking artOne hundred years after the Russian Revolution, Revolution: Russian Art, 1917–1932 explores one of the most momentous periods in modern world history through its groundbreaking art. The October Revolution of 1917 ended centuries of Tsarist rule and left artists such as Malevich, Tatlin, Popova and Rodchenko urgently debating what form a new “people’s art” would take.Painting and sculpture were redefined by Kandinsky’s boldly innovative compositions, Malevich’s dynamic abstractions and the Constructivists’ attempts to transform art into technical engineering. Photography, architecture, film and graphic design also experienced revolutionary changes. These debates were definitively settled in 1932, when Stalin began to suppress the avant-garde in favor of Socialist Realism?collective in production, public in manifestation and Communist in ideology.Based around a remarkable exhibition shown in Leningrad’s State Russian Museum in 1932?which was to be the swansong of avant-garde art in Russia?this volume explores that revolutionary 15-year period between 1917 and 1932 when possibilities seemed limitless and Russian art flourished across every medium. Published to accompany a major exhibition at the Royal Academy of Arts, London (the first to attempt to survey the entire artistic landscape of post-Revolutionary Russia), Revolution explores the painting, sculpture, photography, film, poster art and product design of the years after the Russian Revolution.Including contributions from some of the most prominent scholars in the field (John Milner, Natalia Murray, Nick Murray, Masha Chlenova, Ian Christie, John E. Bowlt, Nicoletta Misler, Zelfira Tregulova, Faina Balakhovskaya, Evgenia Petrova and Christina Lodder), Revolution is a timely and authoritative exploration of both the idealistic aspirations and the harsh realities of the Russian Revolution and its aftermath.
6650 Руб.
Budanova Natalia, Murray Natalia Two Women Patrons of the Russian Avant-Garde. Nadezhda Dobychina and Klavdia Mikhailova
In early 1910s, two pioneering women entrepreneurs, Nadezhda Dobychina in St Petersburg and Klavdia Mikhailova in Moscow set up two of the first art galleries in Russia. Skilfully balancing current art market trends and daring avant-garde experimentations, Dobychina and Mikhailova soon transformed their establishments into vibrant centres of Russian artistic life. Their exhibitions of well-established national and international artists attracted enthusiastic crowds and won acclaim from leading art critics. They did not hesitate to engage in more provocative ventures, including the controversial Goncharova retrospectives in 1914, which for the first time put on view over 500 cutting-edge avant-garde works, and the famous 0.10 exhibition of 1915 at Dobychina's Art Bureau in St. Petersburg, where Malevich's famous Black Square was displayed for the very first time. Based on previously unpublished archival materials and illustrations, this book will tell the story of the lives and adventures of these two remarkable women. Operating in a predominantly man's world, they focussed on discovering and promoting those Russian artists who later went on to become major figures in the history of world modernism.
5581 Руб.
Posters of the Revolutionary Era
This Russian Museum exhibition catalogue publishes much more than the anthologized propaganda posters of other survey books. The curators and authors have selected works that show how the propaganda poster evolved as an independent genre both in subject and style. The earliest examples follow the conventions of popular prints (lubki) and folk tale imagery of the tsarist period - images often tell a story with satirical and grotesque depictions of enemies. Prevalent in the early examples is a realism akin to nineteenth- and early twentieth-century art. In the early 1920s a more modern and spare form of poster art drew on experiments of the avant-garde to create new styles.
1996 Руб.
Pavel Pepperstein. The Cold Center of the Sun - Short Stories
Pavel Pepperstein, long since acknowledged as the central figure in Russia’s contemporary art scene, constitutes an important link between the older generation of Moscow Conceptualists and young aspiring artists in his country. In Pepperstein’s graphic, painterly works, mysterious, hybrid worlds open themselves up to the viewer’s gaze. Motifs from Russian and ancient mythology encounter avant-garde forms in the style of El Lissitzky or Kasimir Malevich that are combined, much like collages, with Hollywood or science-fiction scenes. The artist adds a handwritten, annotating element to this bold blend. His playful gestures break through the confines of the familiar and ironically blend Russian icons with images taken from Western pop culture. This catalogue relates a selection of stories by Pavel Pepperstein, taken from his short story collection The Secret of Our Time, to his recent works on canvas.
3110 Руб.
Museum of Proletarian Culture. The Industrialization of Bohemia
Try and imagine what a museum of creativity looks like. This book tells of a challenging exhibition held in one of the major Russian museums-the Tretyakov Gallery in Moscow. Arseniy Zhilyaev created a conceptual project for an imaginary museum. The viewer sees into the future after the liberation/revolution and is confronted with a radically different outlook on the history of twentieth-century art. At the core of the exhibition, there turns out to be a complex dialectic in the relationship between museum and artist: how does an artists work come to be exhibited in a museum? When and why does an artist engage in artistic creation outside the museum walls? Is the museum the space in which a "happening" takes place? The book includes texts by Russian and foreign art critics as well as a number of previously untranslated Soviet avant-garde texts about museums and proletarian folklore. 0
759 Руб.
Museum of Proletarian Culture. The Industrialization of Bohemia
Try and imagine what a museum of creativity looks like. This book tells of a challenging exhibition held in one of the major Russian museums-the Tretyakov Gallery in Moscow. Arseniy Zhilyaev created a conceptual project for an imaginary museum. The viewer sees into the future after the liberation/revolution and is confronted with a radically different outlook on the history of twentieth-century art. At the core of the exhibition, there turns out to be a complex dialectic in the relationship between museum and artist: how does an artists work come to be exhibited in a museum? When and why does an artist engage in artistic creation outside the museum walls? Is the museum the space in which a "happening" takes place? The book includes texts by Russian and foreign art critics as well as a number of previously untranslated Soviet avant-garde texts about museums and proletarian folklore. 0
759 Руб.
Avant-garde List № 1 For the 100th Anniversaly
This edition was issued for the exhibition dedicated to the centenary of the first state museum of modern art, the Moscow Museum of Painterly Culture. From the late 1910s to the early 1920s, this museum, organised by left-wing artists, assembled the greatest collection of Russian avant-garde to date and performed unique research work. After the liquidation of the MZhK in 1929, over 700 of its artworks were transferred to the Tretyakov Gallery, which served as the first large acquisition to the Contemporary Art Departament. Beginning in the mid-1930s, the Museum of Painterly Culture vanished into oblivion for an extended period. The present edition is the first fundamental work to give a full picture of the Museum's history, its research work and library collection. Topical articles examine different aspects of how the MZhK Collection was assembled, exposition concepts and the activities of the Museum Bureau. The cataloque and two appendices constitute collection of artworks that arrived at the Gallery in 1929 and which was restored in preparation for the exhibition. The Documents sections contains important materials, including the 1929 'liquidation' lists that help evaluate the collection's scope and complexity of its life. The edition is intended for both specialists and those more generally interested in Russian art.
6271 Руб.
Gale Matthew, Huusko Timo, Wan Katy Natalia Goncharova
Natalia Goncharova (1881-1962) was the leading female artist of the Russian avant-garde and a key figure of the modernist era. She embraced with a complete openness a wide range of artistic styles, traditions and media. From sculpture and painting, printmaking and book illustration, to fashion and innovative cinema, she applied the spirit of `everythingness' (Toutisme) to her creative practice. After gaining fame for her early experiments with abstraction, she earned further international renown for her work for Diaghilev's Ballets Russes following her emigration to Paris in 1914. This publication will consider the entire spectrum of Goncharova's creative practice. An important focus will be her 1913 exhibition in Moscow at which she displayed over 350 paintings along with the numerous drawings, studies, prints and designs, demonstrating her prolific and prodigious talent. It will also address how Goncharova was unafraid to explore subjects in her art that were considered taboo for a gentile woman of pre-war Europe, such as the female nude, paganism and marginalised cultures. The artist caused controversy with her biblical scenes, which were rendered in intense and earthly manner that reflected her personal experiences in the period leading to the outbreak of the First World War. Her involvement in performative practices of the futurist movement in Russia went along with her own ground-breaking experiments with non-figurative forms. It was her work that largely contributed to elevating theatre design and costume-making into an art form. Essays by leading experts and lavish illustrations will bring to a new audience the diverse work of this modernist artist whose oeuvre blazed the path of Russian avant-garde painting, ground-breaking European theatre design and modernist graphic design.
4694 Руб.
Sarabyanov Andrei, Strizhkova Natalia Art and Power. The Russian Avant-garde under Soviet Rule, 1917-1928
In Art and Power the authors Andrei Sarabyanov and Natalia Strizhkova explore the historical period between 1917 to the early 1930s, when avant-garde artists and Bolshevik leaders worked hand-in-hand on forging new cultural policies and creating new visual language that would channel Soviet ideological values. Based on the formerly unknown and hitherto unpublished archival documents from the State Archive of the Russian Federation, the authors explore alliances and tensions that existed within the artistic community, as well as the roles played by such torch-bearers as Kazimir Malevich, Vassily Kandinsky, Alexander Rodchenko, Olga Rozanova, Vladimir Tatlin and the challenges they faced in their collaboration with the Soviet State. Within just a few years, they founded new art schools, established numerous educational, research and experimental laboratories and institutions throughout Russia, reaching even into the most remote backwaters of the former Russian Empire.
4417 Руб.