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Модель:
Russian Revolutionary Posters tells the story of the development of the Soviet poster, from the revolutionary period through to the death of Stalin, revealing the way in which tumultuous events within the Soviet Union were matched by equally dramatic shifts in graphic art and design. Written and designed by David King, one of the world's foremost experts on Soviet art and himself an internationally acclaimed graphic designer, the publication features posters drawn from his unparalleled collection, well known to visitors to Tate Modern in London. The book is arranged chronologically. Captions accompany each poster, explaining the historical and artistic context in which it was produced. Constructivist posters, socialist advertising, film posters of the 1920s, classic photomontage, the heroic posters of the Great Patriotic War, biting political satire and the cult of personality of the Stalin years are all here. The great names of Soviet poster design, including Alexander Rodchenko, El Lissitsky, Gustav Klutsis, Dimitri Moor, Viktor Demi and Nina Vatolina, all feature. However, some of the most arresting posters reproduced were created anonymously or by scarcely known artists whose work will be a revelation to many. King takes us behind the scenes, explaining the process involved in the commissioning of the posters and the key figures who coordinated poster campaigns, providing personal histories of the art directors and creative directors whose vision played such a vital role in soviet poster design. With an insightful introduction and over 165 images, some of which have never been seen before, this beautifully produced book will be the definitive survey of the subject for many years to come.
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Through an amazing array of posters, photographs, paintings, magazines, book jackets, advertisements, pamphlets and other rare ephemera, "Red Star Over Russia" tells the story of the Soviet Union, from the Russian Revolution to the death of Stalin. During this period Soviet citizens endured revolutionary upheavals, civil war, Nazi invasion, famine and appalling oppression. For countless millions, revolutionary dreams were transformed into unspeakable tragedy. Yet it was also a time of intense creativity, in which the hopes, aspirations and revolutionary fervour of a people were captured in an extraordinary outpouring of visual material. Universally acclaimed on its publication in 2009, David King's masterful book is the fruit of over 40 years of research. In it, he rescues many of the unsung heroes of the epic struggles that shaped the Soviet Union from obscurity and commemorates the talent of some of the most brilliant artists, photographers and designers of the twentieth century.
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P-35050 Russian WW I & Civil War Posters part II
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This Russian Museum exhibition catalogue publishes much more than the anthologized propaganda posters of other survey books. The curators and authors have selected works that show how the propaganda poster evolved as an independent genre both in subject and style. The earliest examples follow the conventions of popular prints (lubki) and folk tale imagery of the tsarist period - images often tell a story with satirical and grotesque depictions of enemies. Prevalent in the early examples is a realism akin to nineteenth- and early twentieth-century art. In the early 1920s a more modern and spare form of poster art drew on experiments of the avant-garde to create new styles.
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A revelatory compendium on the reinvention of Soviet poster art under Glasnost As we approach the 30th anniversary of the dissolution of the USSR, this publication looks back at the rich history of Soviet art from the USSR’s final chapter: the colorful and radical posters of Glasnost. Ushered in by Mikhail Gorbachev, Glasnost (translating as “openness” or “transparency”) was a movement that allowed for artistic and open-minded alternatives to the state-endorsed Social Realism. Within this movement, posters became the primary vehicles for confronting the history of the USSR from the vantage of its impending dissolution. The book features approximately 212 reproductions of posters from the Martha H. and J. Speed Carroll Collection, as well as essays by Russian history scholar Andy Willimott and art historian Pepe Karmel, and an introduction by J. Speed Carroll. Also included are three interviews with Russian artists who produced some of the posters pictured, conducted by Russian translator Bela Shayevich.
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In the first month of the First World War the Russian campaign against the Germans creaks into gear. Crippled by weak, indecisive leadership the Russian troops battle desperately, even as the inevitability of failure and their own sacrifice dawns. Solzhenitsyn’s astounding work of historical fiction is a portrait of pre-revolutionary Russia, a tragic war story, and an epic novel in the great Russian tradition.
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Soviet propaganda against the demon drink: the latest in Fuel’s Russian pop culture series From the acclaimed authors of the Russian Criminal Tattoo Encyclopaedias and Soviet Space Dogs comes Alcohol, a glorious and exhaustive collection of previously unpublished Soviet anti-alcohol posters. The book includes examples from the 1960s through to the 1980s, but focuses on posters produced during Mikhail Gorbachev’s campaign initiated in 1985. These posters attempted to sober up Soviet citizens by forcing them to confront the issues associated with excessive alcohol consumption. This government-led urgency allowed the poster designers to present the anti-alcohol message in the most graphic terms: they depicted drunks literally trapped inside the bottle or being strangled by “the green snake.” Their protagonists are paralytic freeloaders and shirkers who always neglect their families, drive under the influence, produce substandard work, are smashed when pregnant and present a constant danger to fellow citizens. A two-part essay by renowned cultural historian Alexei Plutser-Sarno attempts to explain, from a Russian perspective, the reasons behind this phenomenon.
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Photographs from the Russian Museum's archive and a detailed chronology of the artist's career supplement the catalogue of 276 paintings, drawings, book illustrations, posters, set and costume designs by the prolific artist associated with the World of Art and other modernist movements from the early years of the 20th century through the 1930s. Two chapters look closely at Somov's place in art history and his legacy of graphic art, including books, posters, set and costume design.
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Readers everywhere were introduced to the work of Irene Nemirovsky through the publication of her long-lost masterpiece, Suite Francaise. But Suite Francaise was only a coda to the brief yet prolific career of this remarkable novelist, for years nearly forgotten. Here in one volume are four of Nemirovsky’s other novels – all of them newly translated by the award-winning Sandra Smith, and all, except David Golder, available in English for the first time. David Golder is the book that established Nemirovsky’s reputation in France in 1929 when she was twenty-six. It is a novel about greed and loneliness, the story of an ageing Russian Jewish businessman, an exile in France, learning to confront death and the knowledge that wealth has not brought him happiness. The Ball is both a sensitive exploration of adolescence and a merciless exposure of bourgeois social pretension. Snow in Autumn is an evocative tale of White Russian emigres in Paris, while in The Courilof Affair a retired Russian revolutionary recalls an infamous assassination committed in his youth. Introduced by novelist Claire Messud, this collection offers the same mastery of narrative, clarity of language and empathetic grasp of human behaviour that would give shape to Suite Francaise.
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One hundred years after the Russian Revolution, this comprehensive survey explores all aspects of its groundbreaking artOne hundred years after the Russian Revolution, Revolution: Russian Art, 1917–1932 explores one of the most momentous periods in modern world history through its groundbreaking art. The October Revolution of 1917 ended centuries of Tsarist rule and left artists such as Malevich, Tatlin, Popova and Rodchenko urgently debating what form a new “people’s art” would take.Painting and sculpture were redefined by Kandinsky’s boldly innovative compositions, Malevich’s dynamic abstractions and the Constructivists’ attempts to transform art into technical engineering. Photography, architecture, film and graphic design also experienced revolutionary changes. These debates were definitively settled in 1932, when Stalin began to suppress the avant-garde in favor of Socialist Realism?collective in production, public in manifestation and Communist in ideology.Based around a remarkable exhibition shown in Leningrad’s State Russian Museum in 1932?which was to be the swansong of avant-garde art in Russia?this volume explores that revolutionary 15-year period between 1917 and 1932 when possibilities seemed limitless and Russian art flourished across every medium. Published to accompany a major exhibition at the Royal Academy of Arts, London (the first to attempt to survey the entire artistic landscape of post-Revolutionary Russia), Revolution explores the painting, sculpture, photography, film, poster art and product design of the years after the Russian Revolution.Including contributions from some of the most prominent scholars in the field (John Milner, Natalia Murray, Nick Murray, Masha Chlenova, Ian Christie, John E. Bowlt, Nicoletta Misler, Zelfira Tregulova, Faina Balakhovskaya, Evgenia Petrova and Christina Lodder), Revolution is a timely and authoritative exploration of both the idealistic aspirations and the harsh realities of the Russian Revolution and its aftermath.
Модель:
One hundred years after the Russian Revolution, this comprehensive survey explores all aspects of its groundbreaking artOne hundred years after the Russian Revolution, Revolution: Russian Art, 1917–1932 explores one of the most momentous periods in modern world history through its groundbreaking art. The October Revolution of 1917 ended centuries of Tsarist rule and left artists such as Malevich, Tatlin, Popova and Rodchenko urgently debating what form a new “people’s art” would take.Painting and sculpture were redefined by Kandinsky’s boldly innovative compositions, Malevich’s dynamic abstractions and the Constructivists’ attempts to transform art into technical engineering. Photography, architecture, film and graphic design also experienced revolutionary changes. These debates were definitively settled in 1932, when Stalin began to suppress the avant-garde in favor of Socialist Realism?collective in production, public in manifestation and Communist in ideology.Based around a remarkable exhibition shown in Leningrad’s State Russian Museum in 1932?which was to be the swansong of avant-garde art in Russia?this volume explores that revolutionary 15-year period between 1917 and 1932 when possibilities seemed limitless and Russian art flourished across every medium. Published to accompany a major exhibition at the Royal Academy of Arts, London (the first to attempt to survey the entire artistic landscape of post-Revolutionary Russia), Revolution explores the painting, sculpture, photography, film, poster art and product design of the years after the Russian Revolution.Including contributions from some of the most prominent scholars in the field (John Milner, Natalia Murray, Nick Murray, Masha Chlenova, Ian Christie, John E. Bowlt, Nicoletta Misler, Zelfira Tregulova, Faina Balakhovskaya, Evgenia Petrova and Christina Lodder), Revolution is a timely and authoritative exploration of both the idealistic aspirations and the harsh realities of the Russian Revolution and its aftermath.
Модель:
The stills from Tarkovskii films have a striking painterly quality; the sketches for costumes and sets are vivd and carefully drawn; posters are in the spirit of the films - all these aspects of Tarkovskii's work lend themselves to a museum exhibition, and this Russian Museum catalogue shows how the arts overlap and how much an artist Tarkovskii was.
Модель: Республика
Разоблачительный сборник о возрождении советского плакатного искусства в условиях гласности. По мере того, как мы приближаемся к 30-летию распада СССР, эта публикация обращается к богатой истории советского искусства из последней главы СССР: красочных и радикальных плакатов гласности. Гласность (в переводе «открытость» или «прозрачность»), основанная Михаилом Горбачевым, была движением, которое позволяло создавать художественные и непредубежденные альтернативы одобренному государством соцреализму. В рамках этого движения плакаты стали основным средством противостояния истории СССР с точки зрения его неминуемого распада. В книге представлено около 212 репродукций плакатов из коллекции Марты Х. и Дж. Спид Кэрролл, а также эссе российского историка Энди Уиллимотта и историка искусства Пепе Кармеля, а также предисловие Дж. Спида Кэрролла. Также включены три интервью с российскими художниками, написавшими некоторые из изображенных на них плакатов, которые провел русский переводчик Бела Шаевич.A revelatory compendium on the reinvention of Soviet poster art under GlasnostAs we approach the 30th anniversary of the dissolution of the USSR, this publication looks back at the rich history of Soviet art from the USSR’s final chapter: the colorful and radical posters of Glasnost. Ushered in by Mikhail Gorbachev, Glasnost (translating as “openness” or “transparency”) was a movement that allowed for artistic and open-minded alternatives to the state-endorsed Social Realism. Within this movement, posters became the primary vehicles for confronting the history of the USSR from the vantage of its impending dissolution. The book features approximately 212 reproductions of posters from the Martha H. and J. Speed Carroll Collection, as well as essays by Russian history scholar Andy Willimott and art historian Pepe Karmel, and an introduction by J. Speed Carroll. Also included are three interviews with Russian artists who produced some of the posters pictured, conducted by Russian translator Bela Shayevich.
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On the eve of the Crimean War, the young, headstrong Yelena, the daughter of aristocratic Russian parents, falls in love with a revolutionary from Bulgaria named Insarov. Facing the wrath and disapproval of her family, Yelena abandons her home to follow Insarov to Bulgaria. Their fateful match sets in motion a series of tragic events which challenge notions of love, revolution and idealism. A highly controversial work upon its original publication, Ivan Turgenev's On the Eve is now recognized as one of the masterpieces of Russian literature and an essential document of the upheaval that dominated Russian society in the years prior to the Crimean War. Turgenev's restrained, nuanced prose is rendered beautifully in Michael Pursglove's new translation.
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At the intersection of the visual, graphic, and cinematic arts, film posters are a unique and thrilling record of a particular cultural Zeitgeist. This book brings together 250 posters from the Soviet Union of the 1920s and early 1930s to explore the energy and invention of this period, before Soviet Realism became the official art doctrine.Drawn from the private collection of connoisseur Susan Pack, the selection includes the work of 27 different artists. From bold figuration to architectural elements, each artist displays a distinct style and aesthetic, as much as they collectively eschew the glamour of Hollywood for more stark, striking, even challenging images, often marked by unusual angles, dynamic compositions, and startling close-ups.