fedorov davydov text (2 resultados)

Soft cover. Condición: Very Good. 1st Edition. Malevich's Tragic 1929 Retrospective Exhibition Catalogue. Octavo 17.3x12.8 cm., original paper wrappers, 10(2) pp. With a b/w reproduction of "Na senokose." 1000 copies only. Glavit no. A-51089. This booklet, published in conjunction with an exhibition of Malevich's works at the Tret'iakov Gallery, includes a biography of the artist. The author, Aleksei Fedorov-Davydov (19001969), at the time the head of the Department of modern Russian art at the Tret'iakov, was a prominent art historian. Malevich produced forty new works for this show. He had left behind the bulk of his mature works in Europe when he returned to Russia in 1927. In this new series of work the artist attempted to redefine himself, given that he had abandoned painting by 1922. In light of the current prevailing conditions he seemed to be reinventing himself in producing new works and antedating them back into the first decade of the century which would produce an historical narrative more suited to the homo sovieticus than can be discerned from the verified works on hand we have and details of his biography. No photographs exist of this exhibition. A fully illustrated catalogue was promised but never materialized, and this is the sole documentation for the event. Some of the work was exhibited in Ukraine in 1930, where the authorities closed down the show and confiscated the items, a dark portent. Within two years of this exhibition at the Tret'iakov Gallery the Stalinist regime had rejected bourgeois abstract art, and Malevich was banned from creating anything of the sort. The paintings from this exhibition were stored in the Russian Museum and not available for view until almost 1980. Fedorov-Davydov's text seems to reflect the tension between Malevich's prominence and the pending rejection of his aesthetic, as he stresses exhibit's importance to up-and-coming artists. "On the one hand," he writes, "this era reached its climax with the whole system engendered by the isolation of bourgeois culture of art from life; on the other, it constructed the germs of those new forms of art that are now growing in front of our eyes". BL 375. Getty 481. MoMA 828. OCLC locates six copies worldwide at the Tate, Frick, MoMA, UNC-Chapel Hill. .Reference: Kokkori, Maria, "Exhibiting Malevich under Stalin," in Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond, ed. Christina Lodder, Maria Kokkori, and Maria Mileeva (S.l.: Brill, 2013): 138. A very good+ copy.

Book measures: 15 x 11.5 cm. 23 pages: plates. Text in Russian. One of 350 copies. As of April 2024, OCLC doesn't locate any other copies of the book. A slightly worn copy. Nikolai Nikolaevich Kupreianov, born in 1894 in Vlotslavek (W?oc?awek), Kingdom of Poland, and passing away in 1933 in the Moscow Region, USSR, was a significant graphic artist during the early Soviet era. Trained under notable mentors such as Princess Maria Klavdievna Tenisheva and Dmitrii Kardovski, Kupreianov made his mark with engravings in the 1910s before transitioning to drawing and painting, becoming a master of realism. He taught photography and engaged in poster design in Petrograd after the Russian Revolution, producing notable works addressing the preservation of historical monuments and libraries. Internationally recognized, he exhibited at prestigious venues like the Venice Biennale and Paris's International Exhibition of Modern Decorative and Industrial Arts. Despite his untimely death by drowning in 1933, Kupreianov's legacy endures through his impactful contributions to art and education.