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ALEXANDRA EXTER PAINTS is a collection of 16

essays on the artist’s and works for the theatre S between 1910 and 1924. The essays explore the VWUXFWXUHGLQWHUPVRIFRPSRVLWLRQDQGFRORXUDQGWKHRSWLFDO colour theories that gave rise to her abstract painting and the basic laws of structure that gave order to her Cubist, Simultaneist, Non-Objective painting and her stage and costume design. Contemporary T accounts of Thamira Kitharides, Salome, and Romeo ALEXANDRA and Juliet are included, together with extracts from HIIHFWVJHQHUDWHG'U5DLOLQJDQDO\VHVWKHZRUNVLQJUHDWGHWDLO Alexander Tairov’s Notes of a Director of 1921.

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“Beauty is not in the visible but in the perceptible N Alexandra Exter, The Bridge (Sèvres), 1912 and the experiential. There is no object, there

T National Art Museum of Ukraine, Kiev is no thing, there is something else, something concealed. This is the world of mutual relations, PATRICIA RAILING is an art historian who has published widely on the S WKHVHSDLQWLQJVZKLOHWKHDXWKRU¶VSURELQJUHPDUNVDQGIRFXVRQ influences and strangely beautiful narrations of Russian Avant-Garde. She is Director of Artists . Bookworks which has published facsimile reprints of artists’ books in co-publications with The lines and colours.” Alexandra Exter MIT Press (, About 2 Squares), The British Library (El Lissitzky and , For the Voice), Liverpool University Press (Frank Kupka, In White and Black), University of California Press (G. ISBN 978-0-946311-20-0 Alexandra Exter, Abstract Construction of Plane Surfaces, 1916 Apollinaire, The Cubist Painters), among others. She is President of the Jean Chauvelin Collection, WKHQDWXUHRIVHHLQJDQGYLHZLQJDFWXDOO\PDNHWKHUHDGHUORRN International Chamber of Russian , InCoRM (Paris).

CAROLINE WALLIS is a geometrician specialising in meteorology and ALEXANDRA

cosmology. She has analysed the geometries of El Lissitzky (publication EXTER 9 780946 311200 67 forthcoming), and presents Aleksandr Rodchenko’s structural geometry in P. Railing and C. Wallis, “Beyond the Horizon: Coherent Geometric DWWKHZRUNVWKHPVHOYHVLQDQHZZD\ Systems in Rodchenko’s Painting”, The Structurist, No. 49/50, PAT R I C I A Alexandra Exter, Construction of Colours, 1921 2009/2010, University of Saskatchewan, Saskatoon, Canada. RAILING Private Collection, Dusseldorf 7KHERRNEHJLQVZLWK([WHU¶V&XELVWSDLQWLQJVZKLFKWKH DXWKRUGHDOVZLWKLQWZRFKDSWHUV7KH6WLOO/LIHDQG $/(;$1'5$(;7(53$,176 7KH&LW\6KHWKHQH[DPLQHVWKHDUWLVW¶VH[SHULPHQWV Patricia Railing ZLWK)XWXULVPRI([WHUOLNHPDQ\5XVVLDQDUWLVWV $UWLVWV%RRNZRUNV(DVW6XVVH[ H[SHULPHQWHGZLWK&XELVPDQG)XWXULVPFRQFXUUHQWO\VRWKDWLWLV SSFFRORXULOOXV  H[WUHPHO\GLI¿FXOWLIQRWLPSRVVLEOHJLYHQWKHSDXFLW\RISUHFLVH ,6%1 GRFXPHQWDWLRQWRGLVFXVVWKHZRUNVLQDVWULFWO\FKURQRORJLFDO VHTXHQFH:KLOHWKHIXVLRQRIWKHWZRVW\OHVLQ5XVVLDLVRIWHQ 7KHDUWLVW$OH[DQGUD([WHUZDVDQLPSRUWDQW¿JXUHLQWKH5XVVLDQ ODEHOOHG µ&XER)XWXULVP¶ 'U 5DLOLQJ LOOXPLQDWLQJO\ FRQVLGHUV DYDQWJDUGH$FRQWHPSRUDU\RIWKRVHSLRQHHUVRIDEVWUDFWLRQ:DVVLO\ ([WHU¶VPRUH)XWXULVWLQVSLUHGZRUNVLQUHODWLRQWR'HODXQD\¶V .DQGLQVN\.D]LPLU0DOHYLFKDQG9ODGLPLU7DWOLQVKHZRUNHG WKHRULHV RI 6LPXOWDQHLW\ ,QGHHG DV WKH DXWKRU VKRZV ([WHU¶V DORQJVLGHWKHVHPHQDVDQHTXDO,QGHHGVKHZDVDRQHRIDFRWHULH DSSURDFK EHDUV VWULNLQJ DI¿QLWLHV WR 6LPXOWDQHLVP &OHDUO\ RI5XVVLDQZRPHQDUWLVWVZKRPDGHDQHQRUPRXVFRQWULEXWLRQWR WKHVHZHUHDQLPSRUWDQWVHWRIH[SHULPHQWVZLWKFRORXUJLYLQJ WKHGHYHORSPHQWRIWKHWKHRU\DQGSUDFWLFHRIDEVWUDFWSDLQWLQJ/LNH the artist a profound understanding of colour effects which 2OJD5R]DQRYD/\XERY3RSRYD9DUYDUD6WHSDQRYDDQG1DGH]KGD VKH VXEVHTXHQWO\ XVHG WR VXFK VWXQQLQJ HIIHFW LQ WKH DEVWUDFW 8GDOWVRYD([WHUZDVIHDUOHVVLQKHUSXUVXLWRIQHZDSSURDFKHVWR SDLQWLQJV EHJLQQLQJ ZLWK WKH HDUO\ ZRUNV RI  DQG WKHDUWLFXODWLRQRIQRQREMHFWLYHIRUPRQFDQYDV%HIRUHWKH2FWREHU FRQFOXGLQJZLWKWKH¿QDOZRUNVRI,QEHWZHHQWKHDXWKRU 5HYROXWLRQRIVKHGLYLGHGKHUWLPHEHWZHHQ3DULVDQG5XVVLD H[DPLQHV([WHU¶VPDQ\WKHDWULFDOGHVLJQV VWXG\LQJH[KLELWLQJDQGEHFRPLQJDIULHQGRIWKH)UHQFK&XELVWV ,QDGGLWLRQWRWKHPDLQFKDSWHUV'U5DLOLQJKDVLQFOXGHG DQG,WDOLDQ)XWXULVWV)RUWKRVHRIKHU5XVVLDQFROOHDJXHVZKRZHUH DQH[WHQVLYHFKURQRORJ\RI([WHU¶VOLIHLQFRUSRUDWLQJDOLVWLQJ XQDEOH WR WUDYHO DEURDG VKH ZDV DQ LQYDOXDEOH VRXUFH RI LQVLGHU ZLWK VPDOO LOOXVWUDWLRQV  RI FHUWDLQ VLJQL¿FDQW SDLQWLQJV LQIRUPDWLRQ DERXW WKH ODWHVW GHYHORSPHQWV LQ )UDQFH DQG ,WDO\ 7KLV LV LQFUHGLEO\ XVHIXO ,W VXSSOLHV D JUHDW GHDO RI KLVWRULFDO UHJXODUO\EULQJLQJQHZVSXEOLFDWLRQVDQGHYHQ:HVWHUQZRUNVRI LQIRUPDWLRQZKLOHDOORZLQJWKHUHDGHUWRFRPSDUHDQGFRQWUDVW DUWEDFNWRKHU0RVFRZKRPH SDLQWLQJV WKDW SRVVHVV D VLPLODU VXEMHFW PDWWHU DQG HQDEOLQJ 1RW VXUSULVLQJO\ VLQFH VKH VWXGLHG LQ )UDQFH ([WHU¶V KLPRUKHUWRLGHQWLI\VPDOOQXDQFHVRIGLIIHUHQFH$WWKHVDPH &XELVW SDLQWLQJV VKRZ D SURIRXQG XQGHUVWDQGLQJ RI WKH LGHDV WLPHWKHVHTXHQFHRIUHSURGXFWLRQVYLYLGO\FRQYH\VWKHZD\WKDW XQGHUO\LQJ WKH VW\OH DQG DUH VWURQJO\ UHPLQLVFHQW RI ZRUN E\ ([WHU¶V RHXYUH GHYHORSHG RYHU WKH SHULRG FRPSOHPHQWLQJ WKH

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InCoRM Journal Vol. 3 Spring-Autumn UÊ2012 The Journal of InCoRM

The Journal of InCoRM is a scholarly publication which is now planned to appear twice yearly, Spring and Autumn.

Articles are devoted to new research, information and archival material on both art historical and scientific findings related to Russian Modernism. Authors are internationally recognised experts in their fields.

Also included are interviews, reports, exhibition and book reviews. There are listings on recent exhibitions, books and special events.

The Journal of InCoRM is published on-line at www.incorm.org/journal It is also published in printed version. Copies of the two numbers of Volume 1 (2009-2010) may be ordered at 10! each (including postage). Copies of Volume 2 (2011), a double issue, may be ordered for 15! (including postage). Copies of Volume 3 (2012), a double issue, may be ordered for 15! (including postage). To order write to [email protected]