DOCSLIB.ORG

Russian Avant-Garde Art from the Vladimir Tsarenkov Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Russian Avant-Garde Art from the Vladimir Tsarenkov Collection Revolutionary! Russian Avant-Garde Art from the Vladimir Tsarenkov Collection Edited by Ingrid Mössinger and Brigitta Milde with contributions by Hubertus Gassner, Katharina Metz, Brigitta Milde and Ada Raev and biographies of individual artists by Hubertus Gassner, Ulrich Krempel, Verena Krieger, Brigitta Milde, Ingrid Mössinger, Ada Raev, Boris Raev and Jule Reuter Kunstsammlungen Chemnitz Contents Acknowledgements …… 5 Sonia Delaunay Terk …… 82 Mikhail Fyodorovich Larionov …… 148 Nikolai Mikhailovich Suetin …… 216 ADA RAEV ADA RAEV JULE REUTER Preface …… 9 INGRID MÖSSINGER Olga Vyacheslavovna Eiges …… 88 Aristarkh Vasilevich Lentulov …… 154 Nadezhda Andreevna Udaltsova …… 222 Messages by the Russian Avant-Garde A. Svishchev ADA RAEV ADA RAEV Sent to the Future …… 16 BORIS RAEV ADA RAEV Vyacheslav Vyacheslavovich Levkievsky …… 158 Marie Vassilieff …… 224 Boris Vladimirovich Ender …… 90 ADA RAEV ADA RAEV Vladimir Baranoff-Rossiné ADA RAEV In a Synaesthetic Rapture …… 29 El Lissitzky …… 160 Alexander Alexandrovich Vesnin …… 228 HUBERTUS GASSNER Aleksandra Aleksandrovna Ekster …… 92 BRIGITTA MILDE VERENA KRIEGER HUBERTUS GASSNER “All is well that begins well and has not ended” Kazimir Severinovich Malevich …… 170 David Aronovich Yakerson …… 232 Aspects of the Reception Robert Rafailovich Falk …… 102 HUBERTUS GASSNER BORIS RAEV of the Russian Avant-Garde …… 34 HUBERTUS GASSNER BRIGITTA MILDE Pavel Andreevich Mansurov …… 182 Georgy Bogdanovich Yakulov …… 244 Soviet Russian Porcelain 1917 – 1930 ……. 272 Vladimir Georgievich Gelfreich …… 104 ULRICH KREMPEL HUBERTUS GASSNER KATHARINA METZ Vladimir Alexeevich Shchuko ADA RAEV, BORIS RAEV Ilya Ivanovich Mashkov …… 184 Vasyl Dmitrievich Yermylov …… 246 ULRICH KREMPEL ADA RAEV Natalia Sergeevna Goncharova …… 108 CATALOGUE ADA RAEV Mikhail Vasilevich Matyushin …… 188 Kirill Mikhailovich Zdanevich …… 250 JULE REUTER JULE REUTER Painting | Sculpture | Mixed Media | Graphics | Boris Dmitrievich Grigoriev …… 120 Models | Theatre and Poster Designs ULRICH KREMPEL Kuzma Sergeevich Petrov-Vodkin …… 192 ULRICH KREMPEL List of works …… 252 Alexander Porfyrovych Archipenko …… 44 VIKTORIA WILHELMINE TIEDEKE Alexej von Jawlensky …… 126 INGRID MÖSSINGER ULRICH KREMPEL Lyubov Sergeevna Popova …… 194 ADA RAEV Vladimir Davidovich Baranoff-Rossiné …… 48 David Nestorovich Kakabadse …… 130 CATALOGUE ADA RAEV JULE REUTER Ivan Albertovich Puni …… 200 VERENA KRIEGER Porcelain Alexander Konstantinovich Bogomasov …… 62 Wassily Kandinsky …… 132 ULRICH KREMPEL ADA RAEV Olga Vladimirovna Rosanova …… 204 List of works …… 290 VERENA KRIEGER KATHARINA METZ, LIANE SACHS David Davidovich Burliuk Ivan Vasilevich Kliun …… 136 Vladimir Davidovich Burliuk …… 66 HUBERTUS GASSNER Alexander Vasilevich Shevchenko …… 206 BRIGITTA MILDE JULE REUTER APPENDIX Gustav Gustavovich Klutsis …… 140 Ilya Grigorevich Chashnik …… 70 Artist biographies …… 370 JULE REUTER Joseph Solomonovich Shkolnik …… 208 JULE REUTER BORIS RAEV Literature …… 390 Pyotr Petrovich Konchalovsky …… 144 Glossary …… 409 Sergey Vasilevich Chekhonin …… 76 ADA RAEV Vladimir Augustovich Stenberg …… 210 Index of Persons …… 414 JULE REUTER JULE REUTER Author Biographies …… 420 Alexander Vasilevich Kuprin …… 146 Aleksandr Aleksandrovich Deineka …… 78 Colophon …… 422 JULE REUTER Varvara Fyodorovna Stepanova …… 214 HUBERTUS GASSNER ADA RAEV statements and manifestos (fig. 2). Their public pres- ADA RAEV Messages by the Russian Avant-Garde ence was promoted by membership in artistic groupings, with names pointing in many cases to Sent to the Future the credo of their members: Jack of Diamonds, the Union of Youth, UNOVIS, LEF, Four Arts etc.6 Before the Revolution Mikhail Larionov, Natalia Goncharova, Kazimir Malevich, David Burliuk described them- selves and their comrades as futurists, as “left-wing” artists or, following Velimir Khlebnikov, as “Budetlya- ne” (“citizens of the future”). After 1917 the emphatic future-orientation of Visual power from crisis consciousness Chagall, Sonia Delaunay Terk, Aleksandra Ekster, parts of the Russian art scene took on a well-nigh and belief in progress Marie Vassilieff, Boris Grigoriev and Ivan Puni.2 state-supporting significance. Newly established Originally stemming from French military idiom educational institutions, in which the division be- The Russian Avant-garde still exerts great appeal to refer to the vanguard of the troop that first en- tween fine and applied arts was abolished, provid- today. Not long ago, an exhibition showing its rich counters the enemy, the term “Avant-garde” has ed a stage for the diverse activities of Avant-garde diversity prompted the claim that in effect, multiple been connected with art for nearly 200 years. It was artists, both male and female, including VKhUTEMAS, Avant-gardes must be at work. Boris Groys, making Henri de Saint-Simon who first used it in this context research institutes such as INKhUK in Moscow and one of his usual provocative attacks, has gone so far in 1820. The forefather of utopian socialism raised GINKhUK in Petrograd/Leningrad, publishers, theatres as to interpret the Russian Avant-garde as a history the artist to a leading personality, advancing in front and firms etc. These were even given the opportunity of the sick.1 Art works of various kinds and genres of the scientist and the industrialist, the latter two to erect their own contemporary museums under from the first three decades of the 20th century in being both protagonists of the modern age. The their own supervision7, a cause of envy throughout Russia and the early Soviet Union, as well as art hap- term anticipates the emphatic leading role that the whole of Europe. Today the works of the Russian penings and verbal utterances, do indeed commu- numerous artists and whole groupings in various Avant-garde are the pride of important collections Fig. 1 nicate a lively sense of rebellion and optimism, of countries claimed for themselves in the 20th century, and museums all over the world.8 Alexander Rodchenko, design for a modernity and sustained awakening (fig. 1). This is in the “Age of the Avant-garde”.3 The most radical artists, with Alexander Rod- newspaper kiosk with the motto also true of the works of those female and male art- The artists, male and female,4 of the Russian Avant- chenko, Varvara Stepanova, El Lissitzky, Alexander “The future is our only goal”, 1919, ists of Russian, Ukrainian and Russian/Ukrainian garde, among them not a few artist couples5, prac- Vesnin and Lyubov Popova leading the way, saw watercolor, ink, drawing pen and Jewish origin, who for various reasons worked tised in the aesthetic field with an enormous sense themselves as Constructivists and production artists sponge on paper, 51.5 × 34.5 cm, abroad in the long term, such as Wassily Kandinsky, of mission. An echo of this can be found in the in- (fig. 3 and 4). Here they followed the maxims of the- Private Collections Museum at Alexej von Jawlensky, Alexander Archipenko, Marc numerable self-portraits, happenings, theoretical oreticians such as Ossip Brik, who considered the the Pushkin Museum of Fine Arts, art of the future to be proletarian and proclaimed Moscow the path from “I” to the “collective”. Others, such as the somewhat younger Aleksandr Deineka, contin- ued to paint but took up contemporary themes. Fig. 3 Fig. 2 Varvara Stepanova, caricature of Double spread from the manifesto Alexander Rodchenko, 1922, ink on paper, “Why We Paint” by Mikhail Larionov 23.5 × 18 cm, private collection and Ilya Zdanevich from the newspaper Argus, with photos by Fig. 4 Mikhail Le Dantu, Mikhail Larionov, Varvara Stepanova, self-caricature, Natalia Goncharova and Ilya 1922, ink on paper, Zdanevich, Christmas number, 1913 23.5 × 17.5 cm, private collection 16 17 Fig. 5 Fig. 7 a “Comprehensive Exhibition of the “First Russian Art Exhibition” at Results of the Capitalist Epoch” Galerie van Diemen, Berlin 1922; in Moscow’s Tretyakov Gallery, left to right: David Sterenberg, November 1931 to February 1932, D. Marianov (in charge of promotion), with works by Wassily Kandinsky, Nathan Altman, Naum Gabo and Alexander Rodchenko, Kazimir Friedrich A. Lutz Malevich and Ivan Kliun and the wall slogan “Bourgeois art in the cul-de-sac. Formalism and self-denial” tionally carried considerable weight in a land where, “There is nothing more awful in the world than an With his pictures of young, muscular men partici- The disbanding of the many competing artist on the one hand, the modern press was still greatly artist’s immutable face, by which his friends and old pating in team sports and greatly exerting them- groupings and the accusation of formalism, which restricted and, on the other, the picture in combina- buyers recognise him at exhibitions – this accursed selves (cat. 25 and 26; Football and Baseball), Deineka was repeated like a mantra, however, sealed the end tion with orthodox rites had been held in awe for mask that shuts off his view of the future (…).”13 created the incarnation of the New Man. The pub- of the Avant-garde in what had become the Stalin- centuries. Both contemporary art and icon painting lication of these images in newspapers and maga- ist Soviet Union by 1932 at the latest. (fig. 5). In the were closely tied up with the social discourse about She was not the only one to set about getting rid zines reached a mass public. following years the canon of “Socialist Realism” was the national identity of Russia. In the Avant-garde of this mask and aiming for constant artistic self-re- established. For many artists of the Russian context
Load more

Recommended publications
  • A Legacy Regained: Niko and the Russian Avant-Garde
    A LEGACY REGAINED: NIKO AND THE RUSSIAN AVANT-GARDE PALACE EDITIONS Contents 8 Foreword Evgeniia Petrova 9 Preface Job de Ruiter 10 Acknowledgements and Notes to the Reader John E. Bowlt and Mark Konecny 13 Introduction John E. Bowlt and Mark Konecny Part I. Nikolai Khardzhiev and the Russian Avant Garde Remembering Nikolai Khardzhiev 21 Nikolai Khardzhiev RudolfDuganov 24 The Future is Now! lra Vrubel-Golubkina 36 Nikolai Khardzhiev and the Suprematists Nina Suetina 43 Nikolai Khardzhiev and the Maiakovsky Museum, Moscow Gennadii Aigi 50 My Memoir of Nikolai Khardzhiev Vyacheslav Ivanov 53 Nikolai Khardzhiev and My Family Zoya Ender-Masetti 57 My Meetings with Nikolai Khardzhiev Galina Demosfenova 59 Nikolai Khardzhiev, Knight of the Avant-garde Jean-C1aude Marcade 63 A Sole Encounter Szymon Bojko 65 The Guardian of the Temple Andrei Nakov 69 A Prophet in the Wilderness John E. Bowlt 71 The Great Commentator, or Notes About the Mole of History Vasilii Rakitin Writings by Nikolai Khardzhiev Essays 75 Autobiography 76 Poetry and Painting:The Early Maiakovsky 81 Cubo-Futurism 83 Maiakovsky as Partisan 92 Painting and Poetry Profiles ofArtists and Writers 99 Elena Guro 101 Boris Ender 103 In Memory of Natalia Goncharova and Mikhail Larionov 109 Vladimir Maiakovsky 122 Velimir Khlebnikov 131 Alexei Kruchenykh 135 VladimirTatlin 137 Alexander Rodchenko 139 EI Lissitzky Contents Texts Edited and Annotated by Nikolai Khardzhiev 147 Nikolai Khardzhiev Introductions to Kazimir Malevich's Autobiography (Parts 1 and 2) 157 Kazimir Malevieh Autobiography 172 Nikolai Khardzhiev Introduction to Mikhail Matiushin's The Russian Cubo-Futurists 173 Mikhail Matiushin The Russian Cubo-Futurists 183 Alexei Morgunov A Memoir 186 Nikolai Khardzhiev Introduction to Khlebnikov Is Everywhere! 187 Khlebnikov is Everywhere! Memoirs by Oavid Burliuk, Nadezhda Udaltsova, Amfian Reshetov, and on Osip Mandelshtam 190 Nikolai Khardzhiev Introduction to Lev Zhegin's Remembering Vasilii Chekrygin 192 Lev Zhegin Remembering Vasilii Chekrygin Part 11.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 144 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017) Social and Historical Environment of the Society of Moscow Artists Elena Lomova Moscow State Academic Art Institution named after V.I. Surikov Moscow, Russia Abstract—The article is concerned with the social and later became the first chairperson of the Society of Moscow historical conditions of forming the Society of Moscow Artists Artists (OMKh). Grabar shared similar vision of art as (OMKh), whose members had covered a long way from an painters from Mir Iskusstva, who popularized the epatage art group the Jack of Diamonds to the society standing individualism, the disengagement of art from political and at the origins of Socialist Realism. socials issues, and paid particular attention to the legacies of the past and especially to Russia‘s national cultural traditions. Keywords—OMKh; The Jack of Diamonds; futurists; The group‘s ‗leftists‘, where the ―Russian avant-garde‖ Socialist Realism; art societies in the 1920s and 1930s occupied a special place, had shaken even more the conventional assumptions about art, dramatically influencing I. INTRODUCTION further development of world art. th The first half of the 20 century was rich in the landmark Meantime, Russian art continued to shift away from the events that could not but influence art, one of the most reality to a non-figurative world, as if not wishing to reflect sensual areas of human activity, sensitive to the slightest horrors happening in the country. Whereas the artists from fluctuations in public life. We can trace their obvious Mir Iskusstva were dipping into the dreams of the past, the repercussions in art while considering the historical events of th avant-garde artists were generally anxious for the future and the early 20 century.
    [Show full text]
  • Politics and History of 20Th Century Europe Shifted Radically, Swinging Like a Pendulum in a Dramatic Cause and Effect Relationship
    Politics and history of 20th Century Europe shifted radically, swinging like a pendulum in a dramatic cause and effect relationship. I explored the correlation between art movements and revolutions, focusing specifically on Russian Constructivism and the Russian Revolution in the 1920s, as well as the Punk movement in East Germany that instigated the Fall of the Berlin Wall. I am fascinated by the structural similarities of these movements, and their shared desire of egalitarianism, which progressed with the support of opposing political ideologies. I chose fashion design because it was at the forefront of both Constructivism and Punk, and because it is what I hope to pursue as a career. After designing a full collection in 2D, I wanted to challenge myself by bringing one of my garments to life. The top is a plaster cast cut in half and shaped with epoxy and a lace up mechanism so that it can be worn. A paste made of plaster and paper pulp serves to attach the pieces of metal and create a rough texture that produces the illusion of a concrete wall. For the skirt, I created 11 spheres of various sizes by layering and stitching together different shades of white, cream, off-white, grey, and beige colored fabrics, with barbed wire and hardware cloth, that I then stuffed with Polyfil. The piece is wearable, and meant to constrict one’s freedom of movement - just like the German Democratic Party constricted freedom of speech in East Germany. The bottom portion is meant to suffocate the body in a different approach, with huge, outlandish, forms like the ones admired by the Constructivists.
    [Show full text]
  • Cubism (Surface—Plane), 1912
    perished because of a negative and exclusive solution to the question of shading. Our age is obliged by force of circumstances to finish what our predeces- sors passed on to us. The path of search in this direction is broad, its bends are diverse, its forks numerous; the solutions will be many. Among them, those connected in our art with the name of A. Exter will remain as an ex- ample of courage, freedom, and subtlety. The upsurge of strength and courage in the plastic arts wanes neither beyond the Rhine nor at home, and it is expressed in the high level of pure painting unprecedented in our coun- try, a phenomenon that is characteristic of its contemporary state. DAVID BURLIUK Cubism (Surface—Plane), 1912 For biography see p. 8. The text of this piece, "Kubizm," is from an anthology of poems, prose pieces, and articles, Poshchechina obshchestvennomu vkusu [A Slap in the Face of Public Taste] (Moscow, December 1912 [according to bibl. R350, p. 17, although January 1913, according to KL], pp. 95-101 [bibl. R275]. The collection was prefaced by the famous declaration of the same name signed by David Burliuk, Velimir Khlebni- kov, Aleksei Kruchenykh, and Vladimir Mayakovsky and dated December 1912. The volume also contained a second essay by David Burliuk on texture [bibl. R269], verse by Khlebnikov and Benedikt Livshits, and four prose sketches by Vasilii Kan- dinsky [for further details see bibl. 133, pp. 45-50]. Both the essay on cubism and the one on texture were signed by N. Burliuk, although it is obvious that both were written by David and not by Nikolai (David's youngest brother and a poet of some merit).
    [Show full text]
  • Open Etoth Dissertation Corrected.Pdf
    The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity.
    [Show full text]
  • The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
    MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1.
    [Show full text]
  • Fulbright Scholars Directory
    FULBRIG HT SCHOLAR PROGRAM 2002-2003 Visiting Scholar Directory Directory of Visiting Fulbright Scholars and Occasional Lecturers V i s i t i n g F u l b r i g h t S c h o l a r P r o g r a m S t a f f To obtain U.S. contact information fo r a scholar listed in this directory, pleaseC IE S speaks ta ff member with the responsible fo r the scholar s home country. A fr ic a (S ub -S aharan ) T he M id d le E ast, N orth A frica and S outh A sia Debra Egan,Assistant Director Tracy Morrison,Senior Program Coordinator 202.686.6230 [email protected] 202.686.4013 [email protected] M ichelle Grant,Senior Program Coordinator Amy Rustic,Program Associate 202.686.4029 [email protected] 202.686.4022 [email protected] W estern H emisphere E ast A sia and the P acific Carol Robles,Senior Program Officer Susan McPeek,Senior Program Coordinator 202.686.6238 [email protected] 202.686.4020 [email protected] U.S.-Korea International Education Administrators ProgramMichelle Grant,Senior Program Coordinator 202.686.4029 [email protected] Am elia Saunders,Senior Program Associate 202.686.6233 [email protected] S pecial P rograms E urope and the N ew I ndependent S tates Micaela S. Iovine,Senior Program Officer 202.686.6253 [email protected] Sone Loh,Senior Program Coordinator New Century Scholars Program 202.686.4011 [email protected] Dana Hamilton,Senior Program Associate Erika Schmierer,Program Associate 202.686.6252 [email protected] 202.686.6255 [email protected] New Century Scholars
    [Show full text]
  • Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2
    MIT 4.602, Modern Art and Mass Culture (HASS-D) Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2 PHOTOGRAPHY, PROPAGANDA, MONTAGE: Soviet Avant-Garde “We are all primitives of the 20th century” – Ivan Kliun, 1916 UNOVIS members’ aims include the “study of the system of Suprematist projection and the designing of blueprints and plans in accordance with it; ruling off the earth’s expanse into squares, giving each energy cell its place in the overall scheme; organization and accommodation on the earth’s surface of all its intrinsic elements, charting those points and lines out of which the forms of Suprematism will ascend and slip into space.” — Ilya Chashnik , 1921 I. Making “Modern Man” A. Kasimir Malevich – Suprematism 1) Suprematism begins ca. 1913, influenced by Cubo-Futurism 2) Suprematism officially launched, 1915 – manifesto and exhibition titled “0.10 The Last Futurist Exhibition” in Petrograd. B. El (Elazar) Lissitzky 1) “Proun” as utopia 2) Types, and the new modern man C. Modern Woman? 1) Sonia Terk Delaunay in Paris a) “Orphism” or “organic Cubism” 1911 b) “Simultaneous” clothing, ceramics, textiles, cars 1913-20s 2) Natalia Goncharova, “Rayonism” 3) Lyubov Popova, Varvara Stepanova stage designs II. Monuments without Beards -- Vladimir Tatlin A. Constructivism (developed in parallel with Suprematism as sculptural variant) B. Productivism (the tweaking of “l’art pour l’art” to be more socialist) C. Monument to the Third International (Tatlin’s Tower), 1921 III. Collapse of the Avant-Garde? A. 1937 Paris Exposition, 1937 Entartete Kunst, 1939 Popular Front B.
    [Show full text]
  • Russian Art 1
    RUSSIAN ART 1 RUSSIAN ART Christie’s dominated the global market for Russian Works of Art and Fabergé in 2016, with our Russian Art sales achieving more than £12 million internationally. For the tenth consecutive season, our Russian Art auctions saw the highest sell-through rates in the market. With a focus on outstanding quality, Christie’s continues to attract both emerging and established collectors in the field. For over a decade, Christie’s has set world auction records in every Russian Art sale. We have broken a total of six records in the past two years, including two in excess of £4 million. Christie’s has set world records for over 50 of Russia’s foremost artists, including Goncharova, Repin, Levitan, Vereshchagin, Vasnetsov, Borovikovsky, Serov, Somov, Lentulov, Mashkov, Annenkov and Tchelitchew. Six of the 10 most valuable paintings ever purchased in a Russian Art sale were sold at Christie’s. Christie’s remains the global market leader in the field of Russian Works of Art and Fabergé, consistently achieving the highest percentage sold by both value and lot for Russian Works of Art. Christie’s closes 2016 with a 60% share of the global Fabergé market, and a 62% share of the global market for Russian Works of Art. cover PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION KONSTANTIN KOROVIN (1861–1939) Woodland brook, 1921 Estimate: £120,000–150,000 Sold for: £317,000 London, King Street · November 2016 back cover PROPERTY OF A MIDDLE EASTERN COLLECTOR A GEM-SET PARCEL-GILT SILVER-MOUNTED CERAMIC TOBACCO HUMIDOR The mounts marked K.
    [Show full text]
  • "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937
    "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Samuel. 2015. "The Architecture of the Book": El Lissitzky's Works on Paper, 1919-1937. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463124 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 A dissertation presented by Samuel Johnson to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts May 2015 © 2015 Samuel Johnson All rights reserved. Dissertation Advisor: Professor Maria Gough Samuel Johnson “The Architecture of the Book”: El Lissitzky’s Works on Paper, 1919-1937 Abstract Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in “thousands of identical originals” even before the avant-garde embraced photography and film.
    [Show full text]
  • The Astronaut's Legal Status
    The Astronaut’s Legal Status Yuri Baturin1 Doctor of Law, Corresponding Member of Russian Academy of Sciences, Pilot-cosmonaut of Russia, Chief researcher, S.I. Vavilov Institute for the History of Science and Technology of RAS (Moscow, Russia) E-mail: [email protected] https://orcid.org/0000-0003-1481-5369 Baturin, Yuri (2020) The Astronaut’s Legal Status. Advanced Space Law, Volume 5, 4-13. https://doi.org/10.29202/asl/2020/5/1 The article proposes to define the concept of “astronaut” through the four elements — specialty “astronaut,” astronaut’s qualification, profession “astronaut” and “astronaut” as the occupation. In this case, it is possible to define the concept of “astronaut” through the labor function of the astronaut. The legal status of an astronaut is considered as a generalization of practical activities in the field of manned astronautics. On the basis of spaceflights experience, additional rules concerning the rights and duties of the astronauts are proposed. A significant list of problems of the astronaut’s legal status, which are still pending, is given. It is also proposed to introduce an international component into the astronaut’s legal status, and not only to use the full range of rights and privileges of astronauts, which are provided for by international law, but also to empower the cosmonaut with the authority of a state representative at a foreign or international manned space object. Keywords: astronaut, astronaut’s labor function, professional activities of an astronaut, astronaut’s rights and obligations, astronaut’s legal status, contract for undertaking of a space mission, space law. Received: March 01, 2020; accepted: April 07, 2020 Introduction Now that the International Space Station is up and running and multilateral cooperation has become the norm, we sometimes forget how long and hard was the road to smooth cooperation in this strategic area affecting the interests of many countries.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]