Art the Commune
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Sculptor Nina Slobodinskaya (1898-1984)
1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. -
"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. -
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Longus in the Mir Istkusstva: Léon Bakst, Maurice Ravel and Marc Chagall EDMUND P. CUEVA Cincinnati In the introduction to George Moore’s translation of Daphnis and Chloe, the publisher, George Braziller, writes: When it was suggested to Chagall that he illustrate the fable of “Daphnis and Chloe” he began his preparation by making two trips to Greece. And it is the very essence of the Greek landscape that was absorbed by the artist and then recreated on pages drenched in blue, shimmering with the sunniest yellow, shadowed in palest mauve. (Preface) Before Marc Chagall was commissioned to create the lithographs that ac- company the 1961 Tériade volume,1 the artist had been asked in 1958 to design the scenery for an Opéra de Paris performance of Maurice Ravel’s Daphnis et Chloé – a background which Franz Meyer in his monumental work, Marc Chagall: Life and Work, writes as having origins in both Cha- gall’s “theatrical experiments in Russia” and “the impact of Greece.”2 Meyer states in addition that just as the painter had traveled to Palestine before cre- ating his Bible illustrations, in the same manner Chagall went to Delphi and Poros in 1952, and Poros and Nauplia in 1954, where he “stood spellbound before the great masterpieces of the Archaic sculptors and felt the profundity and joy of the Greek world with all his heart and soul.”3 Jean-Paul Crespelle in his 1969 biography of Chagall and Sidney Alexander in his 1978 profile ————— 1 The book was originally published for Tériade’s French edition in Paris in 1961 and republished in English in New York in 1977. -
Artists at Play Natalia Erenburg, Iakov Tugendkhold, and the Exhibition of Russian Folk Art at the “Salon D’Automne” of 1913
Experiment 25 (2019) 328-345 brill.com/expt Artists at Play Natalia Erenburg, Iakov Tugendkhold, and the Exhibition of Russian Folk Art at the “Salon d’Automne” of 1913 Anna Winestein Executive Director, Ballets Russes Arts Initiative, and Associate, Davis Center at Harvard University and Center for the Study of Europe at Boston University [email protected] Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been gen- erally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instiga- tor, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee— both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project origi- nated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collec- tors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audi- ences with their own ideas and artworks. Keywords “Salon d’Automne” – Natalia Erenburg – Iakov Tugendkhold – Russian folk art – Paris – Mir iskusstva – Mikhail Larionov – Academie russe Overshadowed by both the “All-Russian Kustar Exhibitions” of 1902 and 1913 in St. -
Sergei Diaghilev's Ballets Russes in the Context of Symbolism Andrey Konovalov1,A Liudmila Mikheeva2,* Yulia Gushchina3,B
Advances in Social Science, Education and Humanities Research, volume 572 Proceedings of the 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021) Sergei Diaghilev's Ballets Russes in the Context of Symbolism Andrey Konovalov1,a Liudmila Mikheeva2,* Yulia Gushchina3,b 1 Institute of Fine Arts, Moscow Pedagogical State University, Moscow, Russia 2 Department of General Humanitarian Disciplines, Russian State Specialized Academy of Arts, Moscow, Russia 3 Likhachev Russian Research Institute for Cultural and Natural Heritage, Moscow, Russia a Email: [email protected] b Email: [email protected] *Corresponding author. Email: [email protected] ABSTRACT The present article focuses on the artistic culture of the Silver Age and the remarkable creative atmosphere of Russia at the turn of the 20th century characterized by the synthesis of arts: drama, opera, ballet, and scenography. A key figure of the period was Sergei Diaghilev, the editor and publisher of the magazines Mir Iskusstva (World of Art) and The Yearbook of the Imperial Theatres, the founder of the famous Ballets Russes in Paris, the organizer of exhibitions of Russian artists of different schools and movements. The article studies the features of Symbolism as an artistic movement and philosophy of art of the Silver Age, a spiritual quest of artistic people of the time, and related and divergent interests of representatives of different schools and trends. The Silver Age is considered the most sophisticated and creative period of Russian culture, the time of efflorescence, human spirit, creativity, the rise of social forces, general renewal, in other words, Russian spiritual and cultural renaissance. -
SPRING CATALOGUE 2018: Early Soviet Culture. a Selection of Books
www.bookvica.com SPRING CATALOGUE 2018: Early Soviet Culture. A Selection of Books 1 F O R E W O R D Dear friends and collegues, Bookvica team is happy to present to you the spring catalogue of 2018! Our focus is once again on the life of the USSR in 1920s-1930s when new ideas have found its embodiment in the life of the Soviet man. Most of the books we have gathered for this catalogue are not one the classic checklist of early Soviet books. No works by Mayakovsky or Lissitzky are present and some of them are practically unknown and barely recorded. However this collection is not accidental but the one with a purpose. With some exceptions we tried to look into the lesser researched sides of the life of new Soviet man and the propaganda that was creating her/him. What toys were they playing growing up and what notebooks used to write their lessons in? What shoes did they wear and what parks they attended back in the days? What did they do in a free time? How the factory libraries looked like and what could be written in the factory newspapers? The answers could be found in the books featured in our catalogue this time. As usual we tried to include books that would have the harmonious balance of rarity, interesting content and the design. That’s why you should expect to find the constructivist wrapper on the catalogue of the library equipment or photomontage cover of the second grade notebook. Apart from the experimental sections we did include our standard selection on architecture, art theory (this time focusing on color theory) and science books as well as handmade children’s books on their life in pioneer summer camps. -
Russian Art on the Rise
H-Announce Russian Art on the Rise Announcement published by Isabel Wünsche on Wednesday, March 29, 2017 Type: Call for Papers Date: May 15, 2017 Location: Germany Subject Fields: Art, Art History & Visual Studies, Cultural History / Studies, Fine Arts, Humanities, Russian or Soviet History / Studies CfP: Russian Art on the Rise 5th Graduate Workshop of the Russian Art & Culture Group Berlin, September 22–23, 2017 Working languages: English and German | Arbeitssprachen: Englisch und Deutsch Deadline for submission: May 15, 2017 The fifth graduate workshop of the Russian Art and Culture Group will focus on the theorization and contextualization of Russian art of the late 19th and early 20th centuries by its contemporaries, positioning it in the cultural discourses of the period that ranged from national appreciation to scientific approaches. Thanks to the collaboration of Jacobs University Bremen and Freie Universität Berlin, the workshop will take place in Berlin for the first time. The workshop will examine the development of Russian art during the period from 1870 to the 1920s. Questioning the self-imposed requirements for their creative work, artistic movements such as the Peredvizhniki and Mir iskusstva addressed subjects specific to Russian culture. The artists not only strove to capture a Russian cultural identity in their works but utilized folk art and crafts to establish a specific Russian style. Modernist artistic styles of western European origin, e.g. French impressionism, were well received by Russian artists. Furthermore, the Russian avant-garde proclaimed a pure form of painting free from historical or literary context and the forms of nature. In this process, new academies were created, their aim was to establish a scientific approach to art and to research various artistic Citation: Isabel Wünsche. -
Serge Diaghilev's Art Journal
Mir iskus8tva, SERGE DIAGHILEV'S ART JOURNAL As part of a project to celebrate Seriozha, and sometimes, in later years, to the three tours to Australia by the dancers who worked for him, as Big Serge. Reputedly he was of only medium height Ballets Russes companies between but he had wide shoulders and a large head 1936 and 1940, Michelle Potter (many of his contemporaries made this looks at a seminal fin de siecle art observation). But more than anything, he journal conceived by Serge Diaghilev had big ideas and grand attitudes. When he wrote to his artist friend, Alexander Benois, that he saw the future through a magnifying 'In a word I see the future through a glass, he could have been referring to any magnifying glass'. of his endeavours in the arts. Or even to - Serge Diaghilev, 1897 his extreme obsessions, such as his fear of dying on water and his consequent erge Diaghilev, Russian impresario deep reluctance to travel anywhere by extraordinaire, was an imposing person. boat. But in fact, in this instance, he was SPerhaps best remembered as the man referring specifically to his vision for the behind the Ballets Russes,the legendary establishment of an art journal. dance company that took Paris by storm in This remarkable journal, Mir iskusstva 1909, he was known to his inner circle as (World of Art). which went into production dance had generated a catalogue search on Diaghilev, which uncovered the record. With some degree of excitement, staff called in the journals from offsite storage. Research revealed that the collection was indeed a full run. -
Russian, Soviet, and Central Asian Art Fall 2017 | Professor Allison Leigh Mondays, Wednesdays & Fridays 11:00-11:50Am – Fletcher Hall 211
University of Louisiana at Lafayette VIAR 422-001 Studies in Art History: Russian, Soviet, and Central Asian Art Fall 2017 | Professor Allison Leigh Mondays, Wednesdays & Fridays 11:00-11:50am – Fletcher Hall 211 Professor’s Office: Fletcher Hall 201A Office hours: Mondays 12-3pm and Tuesdays 12:30-3:30pm; and by appointment Email: [email protected] COURSE DESCRIPTION This course will examine the development of Russian, Soviet, and Central Asian art from the time of Peter the Great (c. 1700) to the 1980s. From early secular portraiture and the development of critical realism to the formal experiments of the avant-garde, this course will trace the impact of Europe and Asia on Russian art and visual culture. It will treat Russian contributions within the context of international art history, and highlight the variations within specific stylistic movements between western and non-western cultures. Students will study Russian and Central Asian responses to Romanticism, Realism, and Futurism, as well as artists’ efforts to reclaim Russia’s eastern heritage in the early 20th century. The first part of the course focuses on the development of Russian painting, sculpture, and printmaking in the 18th and 19th centuries. The focus during the second part of the course is then on Russian and Soviet modernism, from the art of the Russian avant-garde movements of the 1910s-20s to nonconformist art of the 1960s-80s. Threaded through the course will be analyses of the art and visual culture of Central Asian countries such as Kazakhstan and Uzbekistan. The works of all the artists under study will be discussed in terms of the cultural and political context of Russia both before and after the Bolshevik Revolution of 1917. -
Primitivism in Russian Futurist Book Design 1910–14
Primitivism in Russian Futurist Book Design 1910–14 In the introduction to his book “Primitivism” in 20th ponents in 1913), Russian artists such as Mikhail Jared Ash Century Art, William Rubin notes the relative paucity of Larionov, Natalia Goncharova, Kazimir Malevich, and scholarly works devoted to “primitivism—the interest of Olga Rozanova espoused the fundamental aesthetic prin- modern artists in tribal art and culture, as revealed in ciples and theories, set the priorities, and developed the their thought and work.”1 While considerable attention courage to abandon naturalism in art in favor of free cre- has been paid to primitivism in early-twentieth-century ation, pure expression, and, ultimately, abstraction. French and German art in the time since Rubin’s 1984 The present work focuses on the illustrated publication, Western awareness of a parallel trend in book as the ideal framework in which to examine primi- Russia remains relatively limited to scholars and special- tivism in Russia. Through this medium, artists and writ- ists. Yet, the primary characteristics that Russian artists’ ers of the emerging avant-garde achieved one of the recognized and revered in primitive art forms played as most original responses to, and modern adaptations of, profound a role in shaping the path of modern art and primitivism, and realized the primary goals and aesthetic literature in Russia as they did in the artistic expressions credos set forth in their statements and group mani- of Western Europe. “Primitive” and “primitivism,” as festos. These artists drew on a wide range of primitive they are used in this text, are defined as art or an art art forms from their own country: Old Russian illumin- style that reveals a primacy and purity of expression. -
„Lef“ and the Left Front of the Arts
Slavistische Beiträge ∙ Band 142 (eBook - Digi20-Retro) Halina Stephan „Lef“ and the Left Front of the Arts Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access S la v istich e B eiträge BEGRÜNDET VON ALOIS SCHMAUS HERAUSGEGEBEN VON JOHANNES HOLTHUSEN • HEINRICH KUNSTMANN PETER REHDER JOSEF SCHRENK REDAKTION PETER REHDER Band 142 VERLAG OTTO SAGNER MÜNCHEN Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 HALINA STEPHAN LEF” AND THE LEFT FRONT OF THE ARTS״ « VERLAG OTTO SAGNER ■ MÜNCHEN 1981 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-186-3 Copyright by Verlag Otto Sagner, München 1981 Abteilung der Firma Kubon & Sagner, München Druck: Alexander Grossmann Fäustlestr. 1, D -8000 München 2 Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 To Axel Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access Halina Stephan - 9783954792801 Downloaded from PubFactory at 01/10/2019 05:25:44AM via free access 00060802 CONTENTS Introduction ................................................................................................ -
The Art of Mikalojus Konstantinas Čiurlionis at the Junction of Two
RASA ANDRIUŠYT -ŽUKIEN The Art Of Mikalojus Konstantinas iurlionis at the Junction of Two Epochs Santrauka iš knygos: Rasa Andriušyt -Žukien . M.K. iurlionis: tarp simbolizmo ir modernizmo. Vilnius: Versus Aureus, 2004. Even though Lithuania did not appear as a state on early twentieth century maps, and just like Poland, divided Lithuania ‘moved according to three different rhythms emanating from three different capitals,’ as the poet Czesław Miłosz put it 1, Mikalojus Konstantinas iurlionis dedicated his art to Lithuania. This early twentieth century artist succeeded in blending cosmopolitan influences with the local tradition and with his own unique perspective of a composer-turned-artist, thus creating inimitably distinctive works of painting, graphic art and literature. iurlionis’ art is memorable through the exceptional variety and grandeur of its images, as well as through the originality and suggestive power of the artistic form of his works. iurlionis’ artistic output encompasses only six years of intense activity (1903-1909), nevertheless, it embraces all the essential cultural and artistic ideas of his epoch. At the beginning of the twentieth century, Lithuanian artist iurlionis’ work interested such prominent personalities of the period as Igor Stravinsky, Jacques Lipchitz, Wassily Kandinsky, and many others. However, their creative contact with iurlionis, both direct and indirect, was short lived and sporadic. iurlionis’ art was largely isolated from conditions favourable to wider fame and reputation, since he lived in Lithuania and Poland, which at the turn of the century were the fringes of Tsarist Russia and possessed only weak creative connections with the artists of St Petersburg. In the last decade, iurlionis’ works have been exhibited in several major European cities, where they have frequently caused surprise.