DOCSLIB.ORG

Alexander Rodchenko and Vladimir Maiakovsky1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alexander Rodchenko and Vladimir Maiakovsky1 Experiment/3KcnepHMeHT, 1 (1995), 271-78. JULIETIE R. STAPANIAN-APKARIAN ALEXANDER RODCHENKO AND VLADIMIR MAIAKOVSKY1 Well before the 1917 Bolshevik Revolution, artistic revolution had captured the imaginations and passions .of many Russians. Intense exper­ imentation by Russian writers and visual artists in the 191 Os and 1920s led to the distortive dynamism of Russian Cubo-Futurism, the mystical geometries of Suprematism, and the attempts by the Constructivists to organize the concrete materials of modern life into new structures. With Lenin's takeover in 1917, revolutionary artists suddenly found themselves in the world's foremost laboratory for potential social change. Vigorous debates erupted in the first decade of the young state as artists vied for the opportunity to realize their ideas on an unprecedented scale. Among the leading voices in the avant-garde's efforts to build a new culture were those of Constructivist artist Alexander Mikhailovich Rodchenko ( 1891- 1956) (Fig. 93) and Futurist poet Vladimir Vladimirovich Maiakovsky (1893-1930) (Fig. 94). Not only have the independent accomplishments of both men now become artistic monuments, but their collaborative works also form a major legacy of the Modernist endeavor. Rodchenko was raised and educated in Kazan. After graduation in 1914 he moved to Moscow. There, with compass and ruler experiments (1915) and black on black paintings (1918), he moved with other ex­ perimental artists such as Kazimir Malevich, Liubov Popova, and Vladimir Tatlin. Rodchenko became increasingly absorbed in the construction of objects in real space. By looking to industrial models, he helped advance from pure Constructivism to the idea of "production" or "productivist" art: artists were now renamed artist-constructors, who, like engineers, were to reorganize the materials of life in order to transform society. Heeding the 1. For a comprehensive study of Rodchenko's career, see S. Khan-Magomedov., Rodchenko. The Complete Work (London: Thames and Hudson, 1986). Other useful overviews of Rodchenko include: Aleksandr M. Rodchenko, Varvarva F. Stepanova, The Future Is Our Only Goal, ed. Peter Noever (Munich: Prestel Verlag, 1991 ), with essays by A. lavrentiev and A. Volker; G. Karginov, Rodchenko (London: Thames and Hudson, 1979); and Rodchenko and the Arts of Revolutionarv Russia. Catalog of exhibition at the Museum of Modern Art, Oxford, 1979. The primary source for Maiakovsky is the thirteen-volume V. V. Maiakovsky. Po/noe Sobranie sochinenii (Moscow: ANSSR, 19 5 5-61), edited by A. Metchenko et a/. 272 Experiment,/3KcnepHMeiiT call for innovation in art education generated by such a radical revision of artistic practice, Rodchenko taught at Vkhutein (Higher State Artistic and Technical Institute, 1927-30) in Moscow, where he directed the Metalwork Department. Rodchenko's.int(;!rest in di-scarding past tradition and bringing art into everyday life echoed Maiakovsky's powerful dissident voice. Trained as a painter before becoming a professional poet, Maiakovsky came from his leadership of the pre-Soviet bohemia to embrace the Bolshevik takeover in 1917. One night in 1914, Rodchenko first saw Maiakovsky at a Futurist art "happening," when he bought a photograph of Maiakovsky, the Futurist poet-rebel who, posthumously, became a Soviet poet laureate. Despite the great quantity and diversity of Maiakovsky's artistic work, it consistently relates to a persona closely identifiable with the poet himself. Born with strong physique and booming voice, Maiakovsky's artistic persona displays a hyperbolic sensitivity combined with a sharply provocative revolutionary stance. With his initial training as a painter, Maiakovsky became a masterful manipulator of literary images; and his poetry, is rich in verbal play, neblogisms, innovative rhymes, and rhythms, that bring his language close to the content and cadences of everyday speech. (As Rodchenko notes in the reminiscence below, Maiakovsky often composed while walking.) While Rodchenko received acclaim for his innovative use of lettering and. numbers in his design work, Maiakovsky became noted for his technique of heightening prosodic features wiith typesetting styles like the "short column" and "staircase" arrangements of verselines on the printed page. In 1923 Rodchenko designed photomontages to illustrate Maiakov­ sky's long poem Pro eto (About It). In addition to the cover, Rodchenko created twelve strikingly original photomontages, several of which were not included in the first publication. Rodchenko was much involved in innovative book graphic design (he designed over thirty-five books by Maiakovsky) and he made a series of photographs of cardboard figures for a planned production with cutouts of Samozveri (Self-Made Animals, 1926}, a children's book (not realized) by Sergei Tretiakov. Rodchenko also did many of the covers, layouts, and other art work for Lef (Left Front of. the Arts, 1923-25) and its continuation Novyi Lef (New LEF, 1927-28}, edited by Maiakovsky. The pages of this journal now document much of the theoretical advances and artistic polemics of the time. Contributors included the F~rmalist theoretidans Osip Brik a:nd Viktor Shklovsky, the artist Anton L~yinsky, and the poet Nikolai Aseev. Rodchenko worked extensively in photojournalism and with his wife, the artist Varvara Stepanova,.contributed to the propaganda journal SSSR na stroike/USSR in Construction. With his interest in black and white .
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]
  • 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]
  • 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]
  • Read Book Kazimir Malevich
    KAZIMIR MALEVICH PDF, EPUB, EBOOK Achim Borchardt-Hume | 264 pages | 21 Apr 2015 | TATE PUBLISHING | 9781849761468 | English | London, United Kingdom Kazimir Malevich PDF Book From the beginning of the s, modern art was falling out of favor with the new government of Joseph Stalin. Red Cavalry Riding. Articles from Britannica Encyclopedias for elementary and high school students. The movement did have a handful of supporters amongst the Russian avant garde but it was dwarfed by its sibling constructivism whose manifesto harmonized better with the ideological sentiments of the revolutionary communist government during the early days of Soviet Union. What's more, as the writers and abstract pundits were occupied with what constituted writing, Malevich came to be interested by the quest for workmanship's barest basics. Black Square. Woman Torso. The painting's quality has degraded considerably since it was drawn. Guggenheim —an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from May All articles with unsourced statements Articles with unsourced statements from June Lyubov Popova - You might like Left Right. Harvard doctoral candidate Julia Bekman Chadaga writes: "In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception Retrieved 6 July A white cube decorated with a black square was placed on his tomb. It was one of the most radical improvements in dynamic workmanship. Landscape with a White House.
    [Show full text]
  • Vkhutemas Training Anna Bokov Vkhutemas Training Pavilion of the Russian Federation at the 14Th International Architecture Exhibition La Biennale Di Venezia
    Pavilion of the Russian Federation at the 14th International Architecture Exhibition la Biennale di Venezia VKhUTEMAS Training Anna Bokov VKhUTEMAS Training Pavilion of the Russian Federation at the 14th International Architecture Exhibition la Biennale di Venezia Curated by Strelka Institute for Media, Architecture and Design Anton Kalgaev Brendan McGetrick Daria Paramonova Comissioner Semyon Mikhailovsky Text and Design Anna Bokov With Special Thanks to Sofia & Andrey Bokov Katerina Clark Jean-Louis Cohen Kurt W. Forster Kenneth Frampton Harvard Graduate School of Design Selim O. Khan-Magomedov Moscow Architectural Institute MARCHI Diploma Studios Moscow Schusev Museum of Architecture Eeva-Liisa Pelknonen Alexander G. Rappaport Strelka Institute for Media, Architecture and Design Larisa I. Veen Yury P. Volchok Yale School of Architecture VKhUTEMAS Training VKhUTEMAS, an acronym for Vysshie Khudozhestvenno Tekhnicheskie Masterskie, translated as Higher Artistic and Technical Studios, was conceived explicitly as “a specialized educational institution for ad- vanced artistic and technical training, created to produce highly quali- fied artist-practitioners for modern industry, as well as instructors and directors of professional and technical education” (Vladimir Lenin, 1920). VKhUTEMAS was a synthetic interdisciplinary school consisting of both art and industrial facilities. The school was comprised of eight art and production departments - Architecture, Painting, Sculpture, Graphics, Textiles, Ceramics, Wood-, and Metalworking. The exchange
    [Show full text]
  • Études Photographiques, 23 | Mai 2009 When a Photograph of Trees Is Almost Like a Crime 2
    Études photographiques 23 | mai 2009 Politique des images / Illustration photographique When a Photograph of Trees Is Almost like a Crime Rodchenko, Vertov, Kalatozov Bernd Stiegler Translator: James Gussen Electronic version URL: http://journals.openedition.org/etudesphotographiques/3422 ISSN: 1777-5302 Publisher Société française de photographie Printed version Date of publication: 1 May 2009 ISBN: 9782911961236 ISSN: 1270-9050 Electronic reference Bernd Stiegler, « When a Photograph of Trees Is Almost like a Crime », Études photographiques [Online], 23 | mai 2009, Online since 12 February 2014, connection on 30 April 2019. URL : http:// journals.openedition.org/etudesphotographiques/3422 This text was automatically generated on 30 April 2019. Propriété intellectuelle When a Photograph of Trees Is Almost like a Crime 1 When a Photograph of Trees Is Almost like a Crime Rodchenko, Vertov, Kalatozov Bernd Stiegler Translation : James Gussen ‘Think before taking the photograph, while taking the photograph, and after taking the photograph!’1 1 In 1927, the Russian artist and photographer Alexander Rodchenko spent several days at Vladiir Mayakovsky’s dacha,2 taking, what were for him, rare trips into the countryside, and then noted in his journal: ‘In Pushkino, at the dacha, I walk around and look at nature: there’s a bush, there’s a tree, here’s a ravine, stinging nettle ... Everything’s accidental and unorganized, there’s nothing to photograph, it’s not interesting. Now the pines aren’t too bad, long, bare, almost telegraph poles.’3 2 To the city dweller Rodchenko, nature seemed to be a disorganized chaos with no artistic appeal, an informal and unstructured accumulation of thicket and undergrowth.
    [Show full text]
  • Utopian Clothing: the Futurist and Constructivist Proposals in the Early 1920S Flavia Loscialpo, Southampton Solent University A
    Journal Clothing Cultures, 1.3, October 2014 Utopian clothing: The Futurist and Constructivist proposals in the early 1920s Flavia Loscialpo, Southampton Solent University Abstract ‘Can fashion start from zero?’ is a question that, as observed by theorists, historians and curators, ultimately haunts those radical sartorial projects embodying a ‘new’ vision of the world. In the experimental overalls designed at the beginning of the twentieth century by Thayaht in Italy and Stepanova, Rodchenko and Popova in Russia, it is possible to follow and progressively unfold the aspiration to a total renovation and reorganization of life. The differences between the artistic contexts to which these artists belong – Italian Futurism and Russian Constructivism – have often induced critics to discuss their sartorial proposals separately, overlooking their points of convergence. Within this article, the overalls by Thayaht and the Russian Constructivists are instead analysed in relation to each other, as agents of change, or rather as instances of a ‘utilitarian outrage’. In examining their biographies, the article questions the newness of these creations, the rhetoric of the ‘new’ that accompanied them and their status as ‘anti-fashion’ projects. Combining material culture with cultural history, it argues that their iconoclasm and utopian potential resides precisely in their proposing a rationalization of clothing, and in ‘questioning the very fashion project itself’, in both its symbolic and tangible presence. Finally, on the basis of archival research and interviews conducted at the Thayaht-RAM Archive, Florence, the characterization of Thayaht’s tuta as a Futurist creation, which has often been taken for granted, is reconsidered and problematized further. 1 Keywords Futurism Constructivism Utopia overall Thayaht Rodchenko Stepanova Modernism On alternative futures In the ideal society outlined in Utopia by Thomas More (1516), people wear practical clothes that are ‘quite pleasant’, ‘allow free movement of the limbs’ and are suitable for any season.
    [Show full text]
  • Challenging Tradition
    CHALLENGING TRADITION: BAUHAUS, DE STIJL, and RUSSIAN CONSTRUCTIVISM (Kandinsky, Mondrian, Breuer, Tatlin, and Stepanova) WASSILY KANDINSKY Online Links: Wassily Kandinsky - Wikipedia, the free encyclopedia Der Blaue Reiter - Wikipedia, the free encyclopedia Quotes from Wassily Kandinsky http://www.smarthistory.org/Kandinsky-CompositionVII.html Theosophy - Wikipedia, the free encyclopedia Arnold Schoenberg - Wikipedia, the free encyclopedia Helen Mirren on Kandinsky – YouTube Kandinsky Drawing 1926 – YouTube Schonberg and Kandinsky - YouTube FRANZ MARC Online Links: Franz Marc - Wikipedia, the free encyclopedia Meditation on Blue Horses by Franz Marc - YouTube PIET MONDRIAN Online Links: Piet Mondrian - Wikipedia, the free encyclopedia De Stijl - Wikipedia, the free encyclopedia http://www.smarthistory.org/de-stijl- mondrian.html Gerrit Rietveld - Wikipedia, the free encyclopedia Theo van Doesburg - Wikipedia, the free encyclopedia Bauhaus Online Links: Accommodation inside the Studio Building at Bauhaus Bauhaus - Unesco Site Bauhaus – Wikipedia Bauhaus: Design in a Nutshell Architecture - Dessau Bauhaus - YouTube KAZIMIR MALEVICH Online Links: Kazimir Malevich - Wikipedia, the free encyclopedia Suprematism - Wikipedia, the free encyclopedia Tabula rasa - Wikipedia, the free encyclopedia Plays: Victory over the Sun, Introduction and Costume Design Victory over the Sun - Wikipedia, the free encyclopedia Malevich's White on White compared with Monet - Smarthistory VLADIMIR TATLIN and the RUSSIAN CONSTRUCTIVISTS Online Links: Vladimir Tatlin - Wikipedia, the free encyclopedia Constructivism (art) - Wikipedia, the free encyclopedia Tatlin's Tower - Wikipedia, the free encyclopedia Naum Gabo - Wikipedia, the free encyclopedia Stepanova's Results from the First Five Year Plan Rodchenko - Spatial Construction No. 12 (with video) – MOMA Rodchenko's Lines of Force - Tate Modern Vassily Kandinsky. Picture with an Archer, 1909 The Russian artist Vassily Kandinsky (1866-1944) was among the first to eliminate recognizable objects from his paintings.
    [Show full text]
  • Factography Evolution from the Avant-Garde to the Absurd and Camp Prose Igor Chubarov Tyumen State University, Russia
    ISPS Convention 2017 Convention 2017 “Modernization and Multiple Modernities” Volume 2018 Conference Paper Evidence and Violence: Factography Evolution from the Avant-garde to the Absurd and Camp Prose Igor Chubarov Tyumen State University, Russia Abstract This article focuses on the Russian literary avant-garde and its development in prison camp prose and documentary writing. These texts reflected an anthropological experience and response to oppression and violence in human society. In this context, it is possible to see how literature and art in general are able to change ourselves and our reality, rather than just to entertain, console and bring subjective satisfaction. Corresponding Author: The experience of alienated labor, interpreted as the experience of violence, was Igor Chubarov [email protected] expressed by avant-gardists in exaggerated imagery in their works. Therefore, I Received: 26 April 2018 propose to study the avant-garde in the context of the extreme experience of Accepted: 25 May 2018 violence, in which the political and the poetic are sometimes entwined. Published: 7 June 2018 Publishing services provided by Keywords: avant-garde, camp prose, media-aesthetic, Soviet literature, violence Knowledge E Igor Chubarov. This article is distributed under the terms of Artistic depiction of events is the author’s trial of the world around him. the Creative Commons Attribution License, which The author is omnipotent – the dead rise from their graves and live. permits unrestricted use and redistribution provided that the Varlam Shalamov original author and source are credited. Selection and Peer-review 1. under the responsibility of the ISPS Convention 2017 I infer the idea of Russian avant-garde based on the failure of the October Socialist Conference Committee.
    [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]
  • List of Objects Proposed for Protection Under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (Protection of Cultural Objects on Loan)
    List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Revolution: Russian Art 1917 - 1932 7 February 2017 to 17 April 2017 Artist: Yury Pimenov Title: Football Date: 1926 Medium: Oil on canvas Dimensions: Unframed: 134.5 x 89.5 cm Framed: 184 x 150 x 7 cm Inv.No: BX-280/2 Lent by: ASTRAKHAN, THE ASTRAKHAN STATE ART GALLERY C/O ROSIZO The Astrakhan State Art Gallery Astrakhan, The P.m. Dogadin Astrakhan State Art Gallery (rosizo) The P.M. Dogadin Astrakhan State Art Gallery ul. Sverdlova, 81 Astrakhan, Astrakhan Oblast, 414004 Russia Provenance: The work was donated to the Astrakhan State Art Gallery by the State Tretyakov Gallery in 1929. The work was donated to the Tretyakov Gallery from All-Union Society for Cultural Relations with Foreign Countries on the basis of an act dated 23.02.1929 *Note that this object has a complete provenance for the years 1933-1945 List of objects proposed for protection under Part 6 of the Tribunals, Courts and Enforcement Act 2007 (protection of cultural objects on loan) Revolution: Russian Art 1917 - 1932 7 February 2017 to 17 April 2017 Artist: Ekaterina Zernova Title: Tomato Paste Factory Date: 1929 Medium: Oil on canvas Dimensions: Unframed: 141 x 110 cm Framed: 150 x 120 x 7 cm Inv.No: BX-280/1 Lent by: ASTRAKHAN, THE ASTRAKHAN STATE ART GALLERY C/O ROSIZO The Astrakhan State Art Gallery Astrakhan, The P.m. Dogadin Astrakhan State Art Gallery (rosizo) The P.M.
    [Show full text]
  • Konstantin Vialov and the Search for a Modern Realism” by Alla Rosenfeld, Ph
    Aleksandr Deineka, Portrait of the artist K.A. Vialov, 1942. Oil on canvas. National Museum “Kyiv Art Gallery,” Kyiv, Ukraine Published by the Merrill C. Berman Collection Concept and essay by Alla Rosenfeld, Ph. D. Edited by Brian Droitcour Design and production by Jolie Simpson Photography by Joelle Jensen and Jolie Simpson Research Assistant: Elena Emelyanova, Research Curator, Rare Books Department, Russian State Library, Moscow Printed and bound by www.blurb.com Plates © 2018 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection unless otherwise noted. © 2018 The Merrill C. Berman Collection, Rye, New York Cover image: Poster for Dziga Vertov’s Film Shestaia chast’ mira (A Sixth Part of the World), 1926. Lithograph, 42 1/2 x 28 1/4” (107.9 x 71.7 cm) Plate XVII Note on transliteration: For this catalogue we have generally adopted the system of transliteration employed by the Library of Congress. However, for the names of artists, we have combined two methods. For their names according to the Library of Congress system even when more conventional English versions exist: e.g. , Aleksandr Rodchenko, not Alexander Rodchenko; Aleksandr Deineka, not Alexander Deineka; Vasilii Kandinsky, not Wassily Kandinsky. Surnames with an “-ii” ending are rendered with an ending of “-y.” But in the case of artists who emigrated to the West, we have used the spelling that the artist adopted or that has gained common usage. Soft signs are not used in artists’ names but are retained elsewhere. TABLE OF CONTENTS 7 - ‘A Glimpse of Tomorrow’: Konstantin Vialov and the Search for a Modern Realism” by Alla Rosenfeld, Ph.
    [Show full text]