Henryk Baran
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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). -
The T Ransrational Poetry of Russian Futurism Gerald J Ara,Tek
The T ransrational Poetry of Russian Futurism E Gerald J ara,tek ' 1996 SAN DIEGO STATE UNIVERSilY PRESS Calexico Mexicali Tijuana San Diego Copyright © 1996 by San Diego State University Press First published in 1996 by San Diego State University Press, San Diego State University, 5500 Campanile Drive, San Diego, California 92182-8141 http:/fwww-rohan.sdsu.edu/ dept/ press/ All rights reserved. -', Except for brief passages quoted in a review, no part of thisb ook m b ay e reproduced in an form, by photostat, microfilm, xerography r y , o any other means, or incorporated into any information retrieval system, electronic or mechanical, withoutthe written permission of thecop yright owners. Set in Book Antiqua Design by Harry Polkinhorn, Bill Nericcio and Lorenzo Antonio Nericcio ISBN 1-879691-41-8 Thanks to Christine Taylor for editorial production assistance 9 8 7 6 5 4 3 2 1 Acknowledgements Research for this book was supported in large part by grants in 1983, 1986, and 1989 from the International Research & Ex changes Board (IREX), with funds provided by the National En dowment for the Humanities, the United States Information Agency, and the US Department of State, which administers the Russian, Eurasian, and East European Research Program (Title VIII). In addition, I would like to express my gratitude to the fol lowing institutions and their staffs for aid essential in complet ing this project: the Fulbright-Bayes Senior Scholar Research Program for further support for the trips in 1983 and 1989, the American Council of Learned Societies for further support for the trip in 1986, the Russian Academy of Sciences, and the Brit ish Library; iri Moscow: to the Russian State Library, the Rus sian State Archive of Literature and Art, the Gorky Institute of World Literature, the State Literary Museum, and the Mayakovsky Museum; in St. -
Pushkin and the Futurists
1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed. -
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. -
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. -
The University of Chicago Kazimir Malevich And
THE UNIVERSITY OF CHICAGO KAZIMIR MALEVICH AND RUSSIAN MODERNISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY DANIEL KALMAN PHILLIPS CHICAGO, ILLINOIS JUNE 2017 Copyright © 2017 by Daniel Kalman Phillips All rights reserved. TABLE OF CONTENTS LIST OF FIGURES ............................................................................................. iv ACKNOWLEDGEMENTS .............................................................................. viii ABSTRACT ............................................................................................................x INTRODUCTION MALEVICH, ART, AND HISTORY .......................................................................1 CHAPTER ONE MODERNISMS BEFORE SUPREMATISM........................................................18 CHAPTER TWO AN ARTIST OF THE NINETEENTH CENTURY ...............................................71 CHAPTER THREE SUPREMATISM IN 1915 ...................................................................................120 CHAPTER FOUR CODA: SUPREMATISMS AFTER SUPREMATISM .......................................177 WORKS CITED................................................................................................. 211 iii LIST OF FIGURES1 0.1 Kazimir Malevich, Black Square, 1915. 0.2 Kazimir Malevich, [Airplane Flying], 1915. 0.3 John Baldessari, Violent Space Series: Two Stares Making a Point but Blocked by a Plane (for Malevich), 1976. 0.4 Yves Klein, -
Cultural Syllabus : Russian Avant-Garde and Radical Modernism : an Introductory Reader
———————————————————— Introduction ———————————————————— THE RUSSIAN AVANT-GARDE AND RADICAL MODERNISM An Introductory Reader Edited by Dennis G. IOFFE and Frederick H. WHITE Boston 2012 — 3 — ——————————— RUSSIAN SUPREMATISM AND CONSTRUCTIVISM ——————————— 1. Kazimir Malevich: His Creative Path1 Evgenii Kovtun (1928-1996) Translated from the Russian by John E. Bowlt Te renewal of art in France dating from the rise of Impressionism extended over several decades, while in Russia this process was consoli- dated within a span of just ten to ffteen years. Malevich’s artistic devel- opment displays the same concentrated process. From the very begin- ning, his art showed distinctive, personal traits: a striking transmission of primal energy, a striving towards a preordained goal, and a veritable obsession with the art of painting. Remembering his youth, Malevich wrote to one of his students: “I worked as a draftsman... as soon as I got of work, I would run to my paints and start on a study straightaway. You grab your stuf and rush of to sketch. Tis feeling for art can attain huge, unbelievable proportions. It can make a man explode.”2 Transrational Realism From the early 1910s onwards, Malevich’s work served as an “experimen- tal polygon” in which he tested and sharpened his new found mastery of the art of painting. His quest involved various trends in art, but although Malevich firted with Cubism and Futurism, his greatest achievements at this time were made in the cycle of paintings he called “Alogism” or “Transrational Realism.” Cow and Violin, Aviator, Englishman in Moscow, Portrait of Ivan Kliun—these works manifest a new method in the spatial organization of the painting, something unknown to the French Cub- ists. -
Remembering Nikolai Nikolaevich Bogoliubov
Remembering Nikolai Nikolaevich Bogoliubov D. V. Shirkov Contents 1 Personal impressions 1 1.1 TheLateForties .............................. 1 1.2 AttheInstallation ............................. 5 1.3 BogoliubovandLavrentiev......................... 8 2 Joint work 10 2.1 QuantumFieldTheory........................... 10 2.2 The birth of the Bogoliubov renorm-group .................. 12 3 Bogoliubov and Landau 14 3.1 Threeepisodes ............................... 14 3.2 Supplementingeachother . .. .. 16 3.2.1 Superfluidity ............................ 18 3.2.2 Superconductivity.......................... 18 4 Scientist and teacher 20 4.1 Features of Bogoliubovs creativity . 20 4.2 Teacher ................................... 20 1 Personal impressions 1.1 The Late Forties My first impression dates back to the spring of 1947 when N.N. read a special course of lectures on dynamic equations of statistical physics. Recall that Bogoliubov became a professor of Moscow State University in 1943 after returning from Ufa where the Ukrainian Academy was evacuated during the war. In this period he shared his time arXiv:0912.2424v1 [physics.hist-ph] 12 Dec 2009 between the Institute of Mathematics in Kiev and the Department of Physics (Fizfak) in Moscow University. At the end of 1947 N.N. was awarded the Stalin Prize for two treatises on theoretical physics, one of which was monograph Dynamic Equations of Statistical Physics. Rather short, in an elegant grey suit and a bow tie, portly and in his prime, lively and buoyant, he enthusiastically lectured following in general the above-mentioned book that had been published shortly before that. It was obvious that he enjoyed both the subject of the lecture and the contact with students. It was somewhat unusual, beyond the slightly aloof manner of lecturing maintained at the Fizfak at that time, which was impressive in itself and evoked a sort of liking. -
Modernist Theatricality and Stalinist Self-Fashioning in the Lifewriting of Vasilii Kamenskii
Rann, J. (2017) Living as a legend: Modernist theatricality and Stalinist self-fashioning in the lifewriting of Vasilii Kamenskii. Modern Language Review, 112(4), pp. 953-980. (doi:10.5699/modelangrevi.112.4.0953) This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/181260/ Deposited on: 12 March 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk ‘Living as a Legend: Modernist Theatricality and Stalinist Self-Fashioning in the Lifewriting of Vasilii Kamenskii’ Vasilii Kamenskii was rather fond of telling the story of his life.1 For this self-indulgence he can perhaps be forgiven: the Russian Futurist poet, best known for his groundbreaking ferro-concrete poem Tango s korovami (Tango with Cows, 1913), had an unusual fate, encompassing a multitude of adventures, acquaintances and identities: orphan, railwayman, revolutionary; actor, playwright, poet; aviator, party organizer, provincial grandee; amputee, stroke victim, outsider artist. What is most interesting, however, about Kamenskii’s multiple forays into lifewriting is not so much the stories they contain, as what they reveal about the problematics of Russian literary history and identity in the first half of the twentieth century, and in particular the thorny question of the transition between the Modernist avant-garde and Socialist Realism, the official aesthetic doctrine of the Stalinist 1930s and beyond.2 1 Savvatii Gints, Kamenskii’s friend and biographer, relates that Kamenskii liked to tell stories from his own life, often with a degree of fictional licence. -
The Russian State's Use of Irregular Forces and Private Military Groups
The Russian State’s Use of Irregular Forces and Private Military Groups: From Ivan the Terrible to the Soviet Period Sergey Sukhankin Introduction Russia’s growing employment of non-linear forms of warfare (including private military contractors) has long historical traditions. This paper seeks to discuss the main milestones of historical evolution of Russia’s use of mercenary and irregular forces from Tsarist Russia to the final days of the Soviet Union. Specifically, this paper will explore: Key ideas/motivations that guided the Russian state in employing these groups prior to 1917; The evolution of the Soviet approach toward irregular forces and their use within the scope of (para)military operations; Participation of Soviet “military advisors” in regional conflicts and zones of instability as part of the geopolitical power play against the West (primarily the United States); The phenomenon of “special forces” (Spetsnaz) as a means to achieve specific tasks. The research is built on a broad range of Russian sources and presents a combination of chronological and thematic approaches. Russia’s Use of Irregular Forces in the pre-Soviet Period (1612–1917) 1 As described in the first paper in this series, “War, Business and Ideology: How Russian Private Military Contractors Pursue Moscow’s Interests,” Russia’s use of private military contractors dates all the way back to the Livonian War (1558–1583) and reflects Russia’s traditional weakness in the realm of naval operations.1 During the same period, Cossack ataman (leader) Yermak Timofeyevich, hired by the powerful Stroganov merchant family, undertook a raid against the Muslim quasi-state of the Khanate of Sibir. -
Song and Russian Futurism: the Early Vocal Works of Nikolay Roslavets and Arthur Lourié" (2017)
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2017 Song and Russian Futurism: The aE rly Vocal Works of Nikolay Roslavets and Arthur Lourié Savanna Rigling Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Rigling, Savanna, "Song and Russian Futurism: The Early Vocal Works of Nikolay Roslavets and Arthur Lourié" (2017). LSU Master's Theses. 4578. https://digitalcommons.lsu.edu/gradschool_theses/4578 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. SONG AND RUSSIAN FUTURISM: THE EARLY VOCAL WORKS OF ARTHUR LOURIÉ AND NIKOLAY ROSLAVETS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Masters of Music in The School of Music by Savanna Rigling B.M., University of South Florida, 2015 August 2017 TABLE OF CONTENTS ABSTRACT ................................................................................................................................... iii CHAPTER 1 INTRODUCTION ............................................................................................................1 -
Celebrating Suprematism: New Approaches to the Art of Kazimir
Celebrating Suprematism Russian History and Culture Editors-in-Chief Jeffrey P. Brooks (The Johns Hopkins University) Christina Lodder (University of Kent) Volume 22 The titles published in this series are listed at brill.com/rhc Celebrating Suprematism New Approaches to the Art of Kazimir Malevich Edited by Christina Lodder Cover illustration: Installation photograph of Kazimir Malevich’s display of Suprematist Paintings at The Last Futurist Exhibition of Paintings, 0.10 (Zero-Ten), in Petrograd, 19 December 1915 – 19 January 1916. Photograph private collection. Library of Congress Cataloging-in-Publication Data Names: Lodder, Christina, 1948- editor. Title: Celebrating Suprematism : new approaches to the art of Kazimir Malevich / edited by Christina Lodder. Description: Leiden ; Boston : Brill, [2019] | Series: Russian history and culture, ISSN1877-7791 ; Volume 22 | Includes bibliographical references and index. Identifiers: LCCN2018037205 (print) | LCCN2018046303 (ebook) | ISBN9789004384989 (E-book) | ISBN 9789004384873 (hardback : alk. paper) Subjects: LCSH: Malevich, Kazimir Severinovich, 1878-1935–Criticism and interpretation. | Suprematism in art. | UNOVIS (Group) Classification: LCCN6999.M34 (ebook) | LCCN6999.M34C452019 (print) | DDC 700.92–dc23 LC record available at https://lccn.loc.gov/2018037205 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. ISSN1877-7791 ISBN 978-90-04-38487-3 (hardback) ISBN 978-90-04-38498-9 (e-book) Copyright 2019 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher.