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Seller's Description:
Very Good. A clean and sound copy. Careful packing and fast, efficient shipping including delivery confirmation. Please note: International and Domestic Priority orders for this item will require additional shipping.
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Seller's Description:
This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. In poor condition, suitable as a reading copy. Re-bound by library. Please note the Image in this listing is a stock photo and may not match the covers of the actual item, 1800grams, ISBN: 0810923998.
Publisher:
Harry N. Abrams, Inc.; Sovietsky Khudozhnik
Published:
1988
Language:
English
Alibris ID:
17113017174
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Seller's Description:
Very good. Format is approximately 9.5 inches by 13 inches. 254, [2] Pages. Illustrations (most in color). Cover has minor wear and soiling. Introduction by Mikhail Guerman, Contributors L. Vostretsova, N. Kozyreva, S. Liubimtsev, and O. Shnikhireva. This work was designed to serve as a catalogue for an exhibition being mounted by the Russian Museum in Leningrad. The contents include Introduction, The World of Art, The Union of Youth, Mass and Agit art, Vasily Kandinsky, Kazimir Malevich, Unovls, Obmokhu: The Society of Young Artists; Zorved, Makovets, The Path of Painting, Pavel Filonov, The Filonov School, NOh: The New Society of Painters. AkhRR/AkhR, The Four Arts Society; OST: The Society of Easel Artists, The Circle of Artists, Thirteen, OMKh: The Society of Moscow Artists; Unaffiliated Artists, Annotated Catalogue/Index to Names; and Abbreviations. The State Russian Museum, formerly the Russian Museum of His Imperial Majesty Alexander III, on Arts Square in Saint Petersburg, is the world's largest depository of Russian fine art. It is also one of the largest art museums in the world with total area over 30 hectares. In 2021 it attracted 2, 260, 231 visitors, ranking second on list of most-visited art museums in the world. After the Russian Revolution of 1917, many private collections were nationalized and relocated to the Russian Museum. These included Kazimir Malevich's Black Square. Soviet art is a form of visual art that was produced after the October Socialist Revolution of 1917 in Soviet Russia (1917-1922) and the Soviet Union (1922-1991). The consolidation of Soviet art was preceded throughout the 1920s by an era of intense ideological competition between different artistic groupings, with members each striving to ensure their own views would have priority in determining the forms and directions in which Soviet art would develop, seeking to occupy key posts in cultural institutions and to win the favor and support of the authorities. This struggle was made even more bitter by the growing crisis of radical leftist art. At the turn of the 1930s, many avant-garde tendencies that had appeared back in the 1910s had exhausted themselves and their former proponents began depicting real-life objects, as they attempted to return to the traditional system of painted images. In the early 1930s Kazimir Malevich (1879-1935) returned to figurative art. Prominent supporters of leftist views included David Shterenberg, Alexander Drevin, Vladimir Tatlin, Wassily Kandinsky, Kazimir Malevich, Osip Brik, Sofya Dymshits-Tolstaya, Olga Rozanova, Mikhail Matyushin and Nathan Altman. They formed a fairly powerful group that initially determined the policy of the Fine Arts department within the Soviet government and also of the local Moscow and Petrograd Soviets. The position of the Fine Arts department was most fully expressed by Nikolai Punin in 1919. He wrote: "If the depiction of the world does aid cognition, then only at the very earliest stages of human development, after which it already becomes either a direct hindrance to the growth of art or a class-based interpretation of it". The danger of a break with the traditions of progressive pre-Revolutionary art and the artistic school was being pointed out-chiefly by representatives of Russian art who had begun their careers back before the revolution and who, in contrast to the leftists, initially boycotted the new regime. These included Dmitry Kardovsky, Isaak Brodsky, Alexander Savinov, Abram Arkhipov, Boris Kustodiev, Kuzma Petrov-Vodkin, Arkady Rylov, Anna Ostroumova-Lebedeva, Mikhail Avilov, Alexander Samokhvalov, Boris Ioganson, Rudolf Frentz and others. The formation of these two camps, whose members held positions that were to a large extent diametrically opposed, put its distinctive stamp on the development of art and artistic education in the 1920s. In this atmosphere of incessant polemics and a contest between various artistic tendencies Soviet art and its...
