Author: Natalya Semenova
Publisher: Yale University Press
Release Date: 2018-09-11
A fascinating life of Sergei Shchukin, the great collector who changed the face of Russia’s art world Sergei Shchukin was a highly successful textiles merchant in the latter half of the nineteenth century, but he also had a great eye for beauty. He was one of the first to appreciate the qualities of the Impressionists and Post-Impressionists and to acquire works by Cézanne, Matisse, and Picasso. A trailblazer in the Russian art world, Shchukin and his collection shocked, provoked, and inspired awe, ridicule, and derision among his contemporaries. This is the first English-language biography of Sergei Shchukin, written by art historian Natalya Semenova and adapted by Shchukin's grandson André Delocque. Featuring personal diary entries, correspondence, interviews, and archival research, it brings to light the life of a man who has hitherto remained in the shadows, and shows how despite his controversial reputation, he opened his collection to the public, inspiring a future generation of artists and changing the face of the Russian art world.
Author: Ilia Dorontchenkov
Publisher: Univ of California Press
Release Date: 2009-06-10
From the first Modernist exhibitions in the late 1890s to the Soviet rupture with the West in the mid-1930s, Russian artists and writers came into wide contact with modern European art and ideas. Introducing a wealth of little-known material set in an illuminating interpretive context, this sourcebook presents Russian and Soviet views of Western art during this critical period of cultural transformation. The writings document complex responses to these works and ideas before the Russians lost contact with them almost entirely. Many of these writings have been unavailable to foreign readers and, until recently, were not widely known even to Russian scholars. Both an important reference and a valuable resource for classrooms, the book includes an introductory essay and shorter introductions to the individual sections.
There was something uncanny about Charlie Chaplin. His fellow actors spoke of him as inhuman--automaton-like. His stiff, comic movements could be viewed as an attempt to parody the newly developed production lines of Henry Ford's revolutionary factories. As wide-scale application of this technology spread to Soviet Russia, Chaplin's slapstick comedic style also found a following among the artists carving out a new society under communism. In The Chaplin Machine, Owen Hatherley unearths the hidden history of Soviet film, art, and architecture. Turning upside down the common view that the communist avant-garde was austere and humorless, he reveals an unexpected comedic streak that found its inspiration in the slapstick of the American performers Charlie Chaplin and Buster Keaton. What did it mean for socialists to combine the ideas of Chaplin and Ford? Were their experiments indicative of a new future conception of work and leisure? And to what degree was this emphasis on comedy a precursor to the strangely festive despotism of Stalin? By asking these questions, The Chaplin Machine challenges our understanding of twentieth-century art in America and abroad.
Published to accompany the first exhibition in Paris of highlights from The Museum of Modern Art, New York, Being Modern tells the stories behind 120 select artworks and design objects acquired by MoMA between the late 19th century and the present, providing a unique insight into the making of one of the greatest collections of modern and contemporary art in the world. Featuring work from all six of the Museum's departments, from Edward Hopper's House by the Railroad (1925) to the recently acquired original set of 176 digital emoji, the catalogue highlights the diversity and topicality of MoMA's collection, and provides a fresh perspective on the modernist canon. The book is organized chronologically according to the year each artwork entered MoMA's collection. Short texts by museum curators accompany each work, providing an overview of its significance as well as a behind-the-scenes look at the acquisitions process, often an untold aspect of a museum's history. Rather than presenting the collection as a flawlessly structured, stable entity, the book reveals its complex evolution and wide-ranging scope, demonstrating multiple ways of looking at MoMA's multidisciplinary collection.
Author: Russell T. Clement
Publisher: Greenwood Publishing Group
Release Date: 1996
The first comprehensive, scholarly sourcebook/research guide/bibliography on the major French Symbolists painters, this work includes nearly 3,000 entries covering a variety of materials. Each artist receives a primary and secondary bibliography with many annotated entries. Art works, personal names, and subject indexes facilitate easy access. The volume is designed for art historians, art students, museum and gallery curators, and others interested in this major art style of the last half of the 19th century and the first quarter of the 20th century. Art museums and art libraries in both the United States and abroad were gleaned for sources. This is a unique and substantial research tool. Symbolism is one of the most difficult art movements to define. Its primary meaning is the representation of things by symbols, by the imaginative suggestion of dreams and the subconscious through symbolic allusion and luxuriant decoration. The writings of Charles Baudelaire on the arts powerfully influenced the aesthetic theories of Symbolist artists and critics from 1860-1900, much as Baudelaire's poetics were the root of Symbolist literature. The Symbolist work, be it painting or poem, is above all personal and revelatory, precious not commonplace, reflecting and evoking a journey of the imagination. French Symbolist artists explored this style, attitude, and atmosphere from the 1880s to the early twentieth century. This sourcebook organizes biographical, historical, and critical information on four major French Symbolist artists: Pierre Puvis de Chavannes (1824-98), Gustave Moreau (1826-98), Odilon Redon (1840-1916), and Maurice Denis (1870-1943). The first three artists are recognized as originators of the movement. Denis is regarded as Symbolist's foremost theorist and profoundly religious practitioner. Although all four artists have been the focus of major retrospective exhibitions since 1990, no comprehensive sourcebook/bibliography exists.
Publisher: Royal Academy Editions
Release Date: 2017
Genre: Art, Soviet
Revolution: Russian Art, 1917-1932' encapsulates a momentous period in Russian history that is vividly expressed in the diversity of art produced between 1917, the year of the October Revolution, and 1932 when Stalin began to suppress the avant-garde and its debates. Based around the great exhibition of 1932 held at the State Russian Museum in Leningrad, the book explores the fascinating themes and artistic developments of the first fifteen years of the Soviet state, including painting, sculpture, ceramics, posters, graphics and film. The exhibition itself was to be the swansong of avant-garde art in Russia: new policies quickly ensured that Socialist Realism - collective in production, public in manifestation and Communist in ideology - was to become the only acceptable art form. This volume is a timely and authoritative exploration of how modern art in all its forms flourished, was recognised, celebrated, and broken by implacable authority all within fifteen years.
Author: Michel Foucault
Publisher: Univ of California Press
Release Date: 1983-01-01
Foucault's brief but extraordinarily rich essay offers a startling, highly provocative view of a painter whose influence and popularity continue to grow unchecked. This book also throws a new, piquantly dancing light on Foucault himself.
"American artist Jean-Michel Basquiat (1960-1988) quickly became one of art history's most luminescent personalities; his friendships with Andy Warhol, Keith Haring, and Madonna, as well as his tragic death at the age of twenty-seven, are the stuff of legend. This retrospective publication traces the artist's unique career and pinpoints his important position in art history. Basquiat's works are marked by the kind of intensity and energy that also determined the course of his brief life. In just eight years--comparable to the career of Egon Schiele--Basquiat not only managed to create an extensive oeuvre, but also to establish new figurative and expressive elements alongside Conceptual and Minimal Art. At the age of twenty-one, he became the youngest artist ever to be invited to the documenta, while his work also anticipated that of Germany's Junge Wilde movement and the art of the nineties."--Publisher's website.
Highly entertaining and personal account from a giant of one of the world's most famous auction houses Lifts the lid on the mysterious and moneyed world of art sales Beautifully illustrated in full colorLord Hindlip presided over London's auction house Christie's during a time of great excitement in the art world. The 1960s, '70s and early '80s saw the wholesale denuding of country houses and ransacking of attics right across the country - yielding genuine treasures and fakes (both cunning and clumsy) in equal measure. Both memoir and art book, An Auctioneer's Lot recounts Lord Hindlip's career through the major works of art that have passed through his hands over the last fifty years. His story charts such extraordinary highs as the sale of Van Gogh's Sunflowers for a then world-record sum, as well as the often hilarious lows, including a wild goose chase across the badlands of rural America which led him to a gun-toting recluse and a cherished pile of tat masquerading as Old Master paintings.This lavishly produced book is generously illustrated with photographs of all the works of art that came to define Lord Hindlip's tenure as chairman of Christie's"
This beautiful and authoritative book brings together a number of exceptional works of art whose audacity disrupted the course of art history at the beginning of the 20th century. Major artists including Monet, Mondrian, Malevich, Rothko, Bonnard, Picasso, Munch, Giacometti, Bacon, Léger, Picabia, Matisse, Kupka, and Kandinsky are each represented by a key piece from their oeuvre. The text comprises 20 essays on the individual artists by a team of internationally renowned experts. Additional essays grapple with important questions and current debates within the art world, such as which artists are now making art history, and what gives a work lasting iconic status. The book focuses on well-known, landmark works that are models of the passionate creation of art as well as staples of scholarship on art history.
Author: Museum of Modern Art (New York, N.Y.)
Publisher: The Museum of Modern Art
Release Date: 2013-06-01
This new edition of MoMA Highlights is a fresh consideration of the Museum’s superlative collection of modern and contemporary art. It presents a rich chronological overview of the most significant artworks from each of MoMA's curatorial departments—painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, film, and media and performance art—with each work represented by a vibrant image and a short informative text. This redesigned volume features 115 new works since the previous edition, many of them recent acquisitions, ranging from typefaces to sculptures to conceptual performances that reflect the Museum’s ongoing dedication to the art of our time. MoMA Highlights is an indispensable resource for exploring one of the premier art collections in the world.
In 1950, Glynne, 26, comes to Paris with her husband, Joe, and her three-year-old daughter, Cathy, so they can all learn French and study in Paris. But after a year, Glynne leaves Joe. She doesn't love him (she asks herself if she's ever been in love) and she seeks a more liberated life. Saucy and beautiful, Glynne charms one man after another, including the movie star Jean Gabin. Then she meets Maurice and learns that she can indeed fall in love.
Author: Margarita Tupitsyn
Publisher: Mit Press
Release Date: 2018-08-31
A lavishly illustrated volume that views Russian avant-garde art through the lens of Dada. This is the first book to approach Russian avant-garde art from the perspective of the anti-art canons associated with the international Dada movement. The works described and documented in Russian Dada were produced at the height of Dada's flourishing, between World War I and the death of Vladimir Lenin--who, incidentally, was a frequent visitor to Cabaret Voltaire in Zurich, the founding site of Dada. Like the Dadaists, the Russian avant-gardists whose works appear in this volume strove for internationalism, fused the verbal and visual, and engaged in eccentric practices and pacifist actions, including outrageous performances and anti-war campaigns. The works featured in this lavishly illustrated volume thrive on negation, irony, and absurdity, with the goal of constructing a new aesthetic paradigm that is an alternative to both positivist and rationalist Constructivism as well as metaphysical and cosmic Suprematism. The text and images show that, while not neglecting the serious project of public agitation for Marxist ideology, the artists often pushed the Dadaesque into Russian mass culture, in the form of absurdist and chance-based collages and designs. In such works, Russian "da, da (yes, yes)" was converted into a defiant "nyet, nyet (no, no)". Russian Dada, which accompanies a major exhibition at the Museo Reina Sofia, Madrid, includes 250 images, almost all in color, and essays by leading art historians. An appendix provides a wide selection of primary texts--historical writings by such key figures as Nikolai Punin, Kazimir Malevich, Varvara Stepanova, and Aleksandr Rodchenko. Essays by Margarita Tupitsyn, Victor Tupitsyn, Natasha Kurchanova, Olga Burenina-Petrova Artists Natan Altman, Vasilii Ermilov, 41°, Ivan Kluin, Gustav Klutsis, Aleksei Kruchenykh, Valentina Kulagina, Vladimir Lebedev, Kazimir Malevich, Aleksei Morgunov, the Nothingdoers, Ivan Puni, Aleksandr Rodchenko, Olga Rozanova, Sergei Sharshun, Varvara Stepanova, Wladyslaw Strzeminski, Vladimir Tatlin, Igor Terentiev, Nadezhda Udaltsova, Ilya Zdanevich, Kirill Zdanevich