angela lampe chagall el lissitzky malevitch the russian avant garde in vitebsk 1918 1922
Горячева Т., Карасик М., Канцедикас А. El Lissitzky. Совместный каталог с Третьяковской галереей (на англ. яз.)
The "El Lissitzky" exhibition catalogue. The exhibition "El Lissitzky" was the first widescale retrospective of the artist in Russia and a joint project of the State Tretyakov Gallery and the Jewish Museum and Tolerance Center, it took place on two venues at the same time from 16 november 2017 till 18 february 2018. Lissitsky’s early artworks were exhibited at the Jewish Museum and Tolerance Center The early "pre-avant-garde" Lissitzky’s period refers to his activities in the Cultural League (Jewish cultural and public organization).
5783 Р.
Горячева Т., Карасик М., Канцедикас А. El Lissitzky. Совместный каталог с Третьяковской галереей (на англ. яз.)
The "El Lissitzky" exhibition catalogue. The exhibition "El Lissitzky" was the first widescale retrospective of the artist in Russia and a joint project of the State Tretyakov Gallery and the Jewish Museum and Tolerance Center, it took place on two venues at the same time from 16 november 2017 till 18 february 2018. Lissitsky’s early artworks were exhibited at the Jewish Museum and Tolerance Center The early "pre-avant-garde" Lissitzky’s period refers to his activities in the Cultural League (Jewish cultural and public organization).
5783 Р.
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 Р.
Walther Ingo F., Metzger Rainer Chagall. 1887 — 1985. Painting as Poetry
The Belarusian painter Marc Chagall is widely regarded as epitomizing the "painter as poet". The worldwide admiration he commanded remains unparalleled by any artist of the century. Chagall's paintings, steeped in mythology and mysticism, portray colourful dreams and tales that are deeply rooted in his Russian Jewish origins. The memories and yearning they evoke recall his native Vitebsk, and the great events that mark the life of ordinary people: birth, love, marriage and death. They tell of a world full of everyday miracles - in the room of lovers, on the streets of Vitebsk, beneath the Eiffel Tower in Paris. Heaven and earth seem to meet in a topsy-turvy world in which whimsical figures of people and animals float through the air with gravity-defying serenity.
1049 Р.
Гусев Владимир Александрович 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 Р.
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 Р.
Danilova Alexandra, Petukhov Alexey, Pilnik Elena Gallery of 19th and 20th century European and American Art
Gallery of 19th and 20th Сentury European and American Art owns the unique collection of paintings and sculptures by the greatest authors of different art movements – from Romanticism to avant-garde. The album contains illustrations, depicting the masterworks of these artists – such as Francisco de Goya, Gustav Courbet, Paul Cezanne, Paul Gauguin, Marc Chagall, Wassily Kandinsky, Giorgio de Chirico and others.
2700 Р.
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 Р.
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 Р.
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 Р.
Mariengof Anatoly A Novel Without Lies. Volume 23
This frank and detailed memoir of Sergey Esenin is indispensable for anyone interested in the literary avant-garde of the twenties.
107 Р.
Neret Gilles Kazimir Malevich
After flirtations with Realism, Impressionism, and Symbolism, Kiev-born Kazimir Malevich (1878-1935) found his metier in dissolving literal, representational figures and landscapes into pure emotionally-charged abstraction. In 1915, he created what is widely lauded as the first and ultimate abstract artwork: Black Square, a black rectangle on a white background, hailed as the "zero point of painting," a seminal moment for modern and abstract practice. In this book, we follow Malevich's key innovations and ideas and place his groundbreaking achievements within the context of both the Russian and global avant-garde. Through rich illustrations of his work, we explore the artist's theory of Suprematism, based on severe geometric abstraction and "the supremacy of pure feeling in creative art"; his leading role in the development of Constructivism; as well as his interests in philosophy, literature, Russian folk art, and the fourth dimension.
2206 Р.
Maslova Valentina Linguistic-culture. A Russian Picture of the World
Valentina Maslova is a professor of philology at Vitebsk State University. She is one of the founders of linguistic-culturology, a new science taught at several Russian universities. Many Russian authors have written about linguistic-culturology, but the concept is generally unheard of in Western universities and nothing like it exits in the English language. Through the use of language, linguistic-culturology tries to reveal the mentality of a nation and its culture.
453 Р.
Маслова Валентина Михайловна Linguistic-culture. A Russian Picture of the World
Valentina Maslova is professor of philology at Vitebsk State University. She is one the founders linguistic-culturology, a new science taught at several Russian universities. Many Russian authors have written about linguistic-culturology, but the concept is generally unknown in English. Through the use of language, linguistic-culturology tries to reveal the mentality of a nation and its culture. Translated by Alfred Santos
465 Р.
Chagall Marc My Life
'Here is my soul. Look for me here; here I am, here are my pictures, my roots' Marc Chagall, one of the twentieth century's most popular artists, grew up in a close-knit, bustling Russian-Jewish community, the son of a herring seller. In his colourful, dreamlike autobiography, written as he was about to leave his homeland for good in 1922, he vividly brings to life the memories and places that fed into his unique work, from his shtetl childhood to revolutionary Russia and Belle Epoque Paris. Filled with Chagall's own evocative illustrations, My Life is as warm, joyful and humane as his art.
2421 Р.
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 Р.