DOCSLIB.ORG

Semionov Alexander Mikhailovich (1922 - 1984) Alexander Mikhailovich Semionov Was Born February 18, 1922 in the City of Torzhok, Tver Province, Soviet Russia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Semionov Alexander Mikhailovich (1922 - 1984) Alexander Mikhailovich Semionov Was Born February 18, 1922 in the City of Torzhok, Tver Province, Soviet Russia Semionov Alexander Mikhailovich (1922 - 1984) Alexander Mikhailovich Semionov was born February 18, 1922 in the city of Torzhok, Tver Province, Soviet Russia. In 1940, Alexander Semionov graduated from Tavricheskaya Art School in Leningrad. He studied of A. Gromov, S. Bootler, V.Oreshnikov , V. Levitsky, M. Aslamazian. Since 1954, Alexander Semionov has participated in Art Exhibitions. He painted cityscapes, landscapes, genre scenes, ancient Russian towns. Personal exhibition of Alexander Semionov was in Leningrad in 1987. Since 1957, Alexander Semionov was a member of the Leningrad Union of Artists. Alexander Mikhailovich Semionov died in Leningrad in 1984. Paintings by Alenander SEMIONOV are in Art museums and private collections in Russia, Japan, France, USA, England, and throughout the world. BIBLIOGRAPHY The Spring Exhibition of works by Leningrad artists of 1955. Catalogue. - Leningrad: Leningrad Union of artists, 1956. - p. 16. The Fall Exhibition of works by Leningrad artists of 1956. Catalogue. - Leningrad: Leningrad artist, 1958. - p. 22. 1917 - 1957. Exhibition of works by Leningrad artists. Catalogue. - Leningrad: Khudozhnik RSFSR, 1958. - p. 29. All-Union Art Exhibition of 1957 dedicated to the 40th Anniversary of October Revolution. Catalogue. - Moscow: Soviet artist, 1957. - p. 71. The Fall Exhibition of works by Leningrad artists of 1958. Catalogue. - Leningrad: Khudozhnik RSFSR, 1959. - p. 24. Exhibition of works by Leningrad artists of 1960. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1960. - p. 16. Exhibition of works by Leningrad artists of 1960. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1961. - p. 37. Exhibition of works by Leningrad artists of 1961. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1964. -p. 36. The Fall Exhibition of works by Leningrad artists of 1962. Catalogue. - Leningrad: Khudozhnik RSFSR, 1962. - p. 24. The Leningrad Fine Arts Exhibition. -Leningrad: Khudozhnik RSFSR, 1965. - p. 48. The Fall Exhibition of works by Leningrad artists of 1968. Catalogue. -Leningrad: Khudozhnik RSFSR, 1971. - p. 14. The Spring Exhibition of works by Leningrad artists of 1969. Catalogue. -Leningrad: Khudozhnik RSFSR, 1970. - p. 16. Exhibition of works by Leningrad artists dedicated to the 25th Anniversary of the Victory in Great Patriotic war. Catalogue. - Leningrad: Khudozhnik RSFSR, 1972. - p. 10. The Spring Exhibition of works by Leningrad artists of 1971. Catalogue. -Leningrad: Khudozhnik RSFSR, 1972. - p. 14. The Still-Life Exhibition of works by Leningrad artists. Exhibition catalogue. -Leningrad: Khudozhnik RSFSR, 1973. -p. 12. Our Contemporary regional exhibition of Leningrad artists of 1975. Catalogue. -Leningrad: Khudozhnik RSFSR, 1980. - p. 24. The Portrait of Contemporary the Fifth Exhibition of works by Leningrad artists of 1976. Catalogue. - Leningrad: Khudozhnik RSFSR, 1983. - p. 19. Exhibition of works by Leningrad artists dedicated to the 60th Anniversary of October Revolution. Catalogue. - Leningrad: Khudozhnik RSFSR, 1982. - p. 21. The Fall Exhibition of works by Leningrad artists of 1978. Catalogue. -Leningrad: Khudozhnik RSFSR, 1983. - p. 15. The Fine Arts of Leningrad. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1976. - p. 30. 60th Anniversary of Great October Republic Exhibition of works by artists of Russian Federation. - Moscow: Soviet Artists, 1977. - p. 34. Directory of members of the Union of Artists of USSR. Volume 2.- Moscow: Soviet artist, 1979. - p. 330. Alexander Mikhailovich Semionov. Exhibition of works of art. - Leningrad: Leningrad Union of Artists, 1987. - 6 p. Painture Russe. Auction Catalogue. - Paris: Drouot Richelieu, 26 April, 1991. - p. 24. Leningrad Artists. Paintings of 1950-1980s. Exhibition catalogue. - Saint Petersburg: Saint Petersburg Union of artists, 1994. - p. 6. Painting from the life by Leningrad artists. Exhibition catalogue. - Saint Petersburg: Nikolai Nekrasov Memorial museum, 1994. - p. 6. The Lyrics in the works of artists of the war generation. Painting, drawings. Exhibition catalogue. - Saint Petersburg: Nikolai Nekrasov Memorial museum, 1995. - p. 6. __________________________________________________________.
Load more

Recommended publications
  • Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
    Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town.
    [Show full text]
  • Collective Memory Reader
    The Collective Memory Reader Edited by JEFFREY K. OLICK VERED VINITZKY-SEROUSSI DANIEL LEVY OXFORD UNIVERSITY PRESS 20II OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further j / ^-i Oxford University's objective of excellence LOn ' 1 in research, scholarship, and education. H f y\ Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi 10 y New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece C G Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam j | Copyright © 20ii by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, NY 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The collective memory reader / edited by Jeffrey K. Olick, Vered Vinitzky-Seroussi, and Daniel Levy, p. cm. Includes bibliographical references and index. ISBN 978-0-19-533741-9; ISBN 978-0-19-533742-6 (pbk.) 1. Collective memory. I. Olick, Jeffrey K., 1964- II. Vinitzky-Seroussi, Vered i960-. III. Levy, Daniel, 1962- HM1033.C62 2011 302.01—dc22 2010014503 98765432 Printed in the United States of America on acid-free paper Introduction Jeffrey K. Olick, Vered Vinitzky-Seroussi, and Daniel Levy Memory, even conceived in its social dimensions, is hardly a new topic.
    [Show full text]
  • Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
    Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 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 Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry.
    [Show full text]
  • Nivkhi on the Social Organization of the Gilyak, 1995 B Y Bruce Grant
    AF T E RW O R D: AF T E R L I V E S A N D AF T E RW O R L D S Nivkhi on The Social Organization of the Gilyak, 1995 B Y Bruce Grant B Y T H E A D V E N T of World War II, the lives of most Gilyaks had changed dramati- cally. The Soviet government officially recognized the use of their self-designation, “Nivkh,” and in the Soviet drive to create proletarians from primitives, the idea of “Gilyak” came to take on pejorative connotations of all things past. That the gov- er nment embraced the name “Nivkh” as a hallmark of native self-determination, but simultaneously forbade Nivkhi to speak the Nivkh language, was only one of many contradictions between tradition and modernity that their belonging in the new Sovi- et Union had set before them.1 For the new Nivkh society, one of the greatest legacies of the post-World War II period was the widespread integration of women into the workforce. Before the war, efforts to recruit women into Sovietized native institutions such as clan councils foundered on the reluctance of Nivkh men and women alike. With the conscription of Nivkh and Russian men to the war front, women all over Sakhalin and the Amur had to take the work of the fishing collectives into their own hands. During my own fieldwork on Sakhalin in 1990, one woman explained to me, I was 10 when the war started. I had only been in school a year but our mother had no money, so I started working on the kolkhoz.
    [Show full text]
  • Dutch and Flemish Art in Russia
    Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack.
    [Show full text]
  • Women in Nineteenth-Century Russia: Lives and Culture
    To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/98 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Wendy Rosslyn is Emeritus Professor of Russian Literature at the University of Nottingham, UK. Her research on Russian women includes Anna Bunina (1774-1829) and the Origins of Women’s Poetry in Russia (1997), Feats of Agreeable Usefulness: Translations by Russian Women Writers 1763- 1825 (2000) and Deeds not Words: The Origins of Female Philantropy in the Russian Empire (2007). Alessandra Tosi is a Fellow at Clare Hall, Cambridge. Her publications include Waiting for Pushkin: Russian Fiction in the Reign of Alexander I (1801-1825) (2006), A. M. Belozel’skii-Belozerskii i ego filosofskoe nasledie (with T. V. Artem’eva et al.) and Women in Russian Culture and Society, 1700-1825 (2007), edited with Wendy Rosslyn. Women in Nineteenth-Century Russia: Lives and Culture Edited by Wendy Rosslyn and Alessandra Tosi Open Book Publishers CIC Ltd., 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com © 2012 Wendy Rosslyn and Alessandra Tosi Some rights are reserved. This book is made available under the Creative Commons Attribution-Non-Commercial-No Derivative Works 2.0 UK: England & Wales License. This license allows for copying any part of the work for personal and non-commercial
    [Show full text]
  • The Making of Ethnicity in Southern Bessarabia: Tracing the Histories Of
    The Making of Ethnicity in Southern Bessarabia: Tracing the histories of an ambiguous concept in a contested land Dissertation Zur Erlangung des Doktorgrades der Philosophie (Dr. phil.) vorgelegt der Philosophischen Fakultät I Sozialwissenschaften und historische Kulturwissenschaften der Martin-Luther-Universität Halle-Wittenberg, von Herrn Simon Schlegel geb. am 23. April 1983 in Rorschach (Schweiz) Datum der Verteidigung 26. Mai 2016 Gutachter: PD Dr. phil. habil. Dittmar Schorkowitz, Dr. Deema Kaneff, Prof. Dr. Gabriela Lehmann-Carli Contents Deutsche Zusammenfassung ...................................................................................................................................... iii 1. Introduction .............................................................................................................................................................. 1 1.1. Questions and hypotheses ......................................................................................................................... 4 1.2. History and anthropology, some methodological implications ................................................. 6 1.3. Locating the field site and choosing a name for it ........................................................................ 11 1.4. A brief historical outline .......................................................................................................................... 17 1.5. Ethnicity, natsional’nost’, and nationality: definitions and translations ............................
    [Show full text]
  • Russian Plates Pp. 290-303
    INDEX OF ARTISTS Dorfman, Elizaveta, 733 Ivanova, Vera, 868, 869 Litvak, M., 652 Index Dovgal’, Oleksandr, 783 Izenberg, Vladimir, 592–594, 643 Liubavina, Nadezhda, 74, 186, 364 Adlivankin, Samuil, 524, 525, 572, 573 Dubyns’kii, Hr., 858 (see also Author Index) Izoram, 1019 Liubimov, Aleksandr, 1197 Coordinated by Sarah Suzuki. (see also Author Index) Duplitskii, 1019 Liushin, 896 Contributors include Sienna Brown, Aivazovskii, 1021 Dvorakovskii, Valerian, 1080 K., B., 697, 698 Lopukhin, Aleksandr, 128 (see also Author Emily Capper, and Jennifer Roberts. Akishin, Leonid, 1019 K., F. P., 1151 Index) Aksel’rod, Meer (Mark), 789 Echeistov, Georgii, 284, 378–382, 455 K., N., 222 Lozowick, Louis, 706 Aleksandrova, Vera, 329 Efimov, B., 532 Kalashnikov, Mikhail, 263, 264 All numbers refer to the Checklist. Alekseev, Nikolai, 526, 574 Egorov, Vladimir, 583 Kalmykov, Mykola, 262 M., D., 608 Al’tman, Natan, 55, 56, 59, 117, 143, Elin, V. M., 1205 Kamenskii, Vasilii, 75, 76, 90, 94, 95, M., E., 751 144, 169, 215, 330, 331, 364, 447, Elkin, Vasilii, 793 142, 150, 164–66, 218 (see also Author Makarov, Mikhail, 1023 451, 527, 575, 636, 731, 1019, 1124, El’kina, D., 326 (see also Author Index) Index) Makletsov, Sergei, 206, 207 1162 (see also Author Index) Ender, Boris, 533, 584, 1228 Kandinsky, Vasily, 181, 223 (see also Malevich, Kazimir, 21, 37–40, 55, 56, Andreev, Aleksandr, 4 Epifanov, Gennadii, 1081 Author Index) 68, 69, 79–81, 91, 129, 236, Andreevskaia, M., 361 Epple, L., 1056 Kanevskii, A., 852 306–308, 348, 884, 1126–1128, 1153 Andronova,
    [Show full text]
  • Multi-Faceted Creativity of Artists of One City
    Nachev, D.A. (2020) Multi-faceted creativity of artists of one city. Current issues of cultural heritage in 2020. Collection of Scientific Articles, 01 (01), 24-46. European Scientific e-Journal. Hlučín- Bobrovníky: “Anisiia Tomane k” OSVČ. ESEJ: art2020-08-001 DOI: 10.47451/art2020-08-001 Dmitry A. Nachev Member of The Saint Petersburg Union of Artists of Russia Member of the Association of Art Historians (AIS) Member of the International Union of Teachers and Artists Senior Lecturer Saint Petersburg Institute of Art and Restoration International School of Design Saint Petersburg, Russia E-mail: [email protected] Multi-faceted creativity of artists of one city Abstract: The article considers the evolution and development of the genres of still life and landscape, their interpenetration in the works of artists. It also considers the diversity of creativity, different artists United by one city. Special attention is paid to the work of Leningrad artists. Keywords: art, painting, painter, still life, landscape, artists of the Leningrad school of painting, A. Yakovlev, Y. Krestovsky, E. Moiseenko, O. Khorosheva, A. Lytkin. 1. ‘View from the Window’ in the works of the artists Y.I. Krestovsky, E.E. Moiseenko and A.A. Yakovlev You can consider the work of Leningrad (St. Petersburg) masters Y.I. Krestovsky and A.A. Yakovlev with the involvement of other artists whose works touched the theme of ‘view from the window’. The study of the topic provides an opportunity to get acquainted with another important phenomenon in Russian art, which received the concept of severe style and developed in the 1960s.
    [Show full text]
  • Following the Black Square: the Cosmic, the Nostalgic & the Transformative in Russian Avant-Garde Museology Teofila Cruz-Uri
    Following The Black Square: The Cosmic, The Nostalgic & The Transformative In Russian Avant-Garde Museology Teofila Cruz-Uribe A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in International Studies: Russia, East Europe and Central Asia University of Washington 2017 Committee: Glennys Young James West José Alaniz Program Authorized to Offer Degree: Jackson School of International Studies Cruz-Uribe ©Copyright 2017 Teofila Cruz-Uribe 1 Cruz-Uribe University of Washington Abstract Following The Black Square: The Cosmic, The Nostalgic & The Transformative In Russian Avant-Garde Museology ​ ​ Teofila Cruz-Uribe Chair of the Supervisory Committee: Jon Bridgman Endowed Professor Glennys Young History Department & Jackson School of International Studies Contemporary Russian art and museology is experiencing a revival of interest in the pioneering museology of the Russian artistic and political avant-garde of the early 20th century. This revival is exemplified in the work of contemporary Russian conceptual artist and self-styled ‘avant-garde museologist’ Arseniy Zhilyaev (b. 1984). Influential early 20th century Russian avant-garde artist and museologist Kazimir Malevich acts as the ‘tether’ binding the museologies of the past and present together, his famous “Black Square” a recurring visual and metaphoric indicator of the inspiration that contemporary Russian avant-garde museology and art is taking from its predecessors. This thesis analyzes Zhilyaev’s artistic and museological philosophy and work and determines how and where they are informed by Bolshevik-era avant-garde museology. This thesis also asks why such inspirations and influences are being felt and harnessed at this particular juncture in post-Soviet culture.
    [Show full text]
  • Rumiantseva Kapitolina Alexeevna (1925 - 2002) Kapitolina Alexeevna Rumiantseva Was Born December 16, 1925 in the Leningrad
    Rumiantseva Kapitolina Alexeevna (1925 - 2002) Kapitolina Alexeevna Rumiantseva was born December 16, 1925 in the Leningrad. In 1950 Kapitolina Rumiantseva graduated from Tavricheskaya Art School. She studied of G. Shakh, D. Rezanskaya, V. Petrova, M. Shuvaev. In 1950-1969 Kapitolina Rumiantseva taught drawing and painting in secondary art school. Since 1970 Kapitolina Rumiantseva has participated in Art Exhibitions. She painted still-lifes, landscapes, genre paintings. Kapitolina Rumiantseva was a member of the Leningrad Union of Artists since 1973. Kapitolina Alexeevna Rumiantseva died in Saint Petersburg in 2002. Paintings by Kapitolina Ruamiantseva are in Art museums and private collections in the Russia, France, Italy, in the U.S., and throughout the world. BIBLIOGRAPHY The Fall Exhibition of works by Leningrad artists of 1970. Catalogue. - Leningrad: Khudozhnik RSFSR, 1972. Our Contemporary The Second Exhibition of works by Leningrad artists of 1972. Catalogue. - Leningrad: Khudozhnik RSFSR, 1973. - p. 6. The Still-Life Exhibition of works by Leningrad artists. Exhibition catalogue. -Leningrad: Khudozhnik RSFSR, 1973. - p. 8. Our Contemporary regional exhibition of Leningrad artists of 1975. Catalogue. - Leningrad: Khudozhnik RSFSR, 1980. - p. 13. Exhibition of works by Leningrad women-artists of 1975. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1979. - p. 4. Regional Exhibition of works by Leningrad artists of 1980. Exhibition catalogue. - Leningrad: Khudozhnik RSFSR, 1983. - p. 11. Directory of members of the Leningrad branch of Union of Artists of Russian Federation. - Leningrad: Khudozhnik RSFSR, 1987. - p. 113. The Leningrad Artists. Paintings of 1950-1980s. Exhibition catalogue. - Saint Petersburg: Saint Petersburg Union of artists, 1994. - p. 5. A Painting from the life by Leningrad artists.
    [Show full text]
  • Checklist of the Judith Rothschild Foundation Gift
    Checklist of The Judith This checklist is a comprehensive ascertained through research. When a For books and journals, dimensions Inscriptions that are of particular his- record of The Judith Rothschild place of publication or the publisher given are for the largest page and, in torical or literary interest on individual Rothschild Foundation Gift Foundation gift to The Museum of was neither printed in the book nor cases where the page sizes vary by books are noted. Modern Art in 2001. The cataloguing identified through research, the des- more than 1/4,” they are designated Coordinated by Harper Montgomery system reflects museum practice in ignation “n.s” (not stated) is used. irregular (“irreg.”). For the Related The Credit line, Gift of The Judith under the direction of Deborah Wye. general and the priorities of The Similarly, an edition size is some- Material, single-sheet dimensions in Rothschild Foundation, pertains to all Museum of Modern Art’s Department times given as “unknown” if the print which the height or width varies from items on this checklist. To save space Researched and compiled by of Prints and Illustrated Books in par- run could not be verified. City names one end to the other by more than and avoid redundancy, this line does Jared Ash, Sienna Brown, Starr ticular. Unlike most bibliographies are given as they appear printed in 1/4” are similarly designated irregular. not appear in the individual entries. Figura, Raimond Livasgani, Harper and library catalogues, it focuses on each book; in different books the An additional credit may appear in Montgomery, Jennifer Roberts, artists rather than authors, and pays same city may be listed, for example, Medium descriptions (focusing on parentheses near the end of certain Carol Smith, Sarah Suzuki, and special attention to mediums that as Petersburg, St.
    [Show full text]