RUSSIAN CONSTRUCTIVISM
Christina Lodder
Christina Lodder: RUSSIAN CONSTRUCTIVISM. New Haven: Yale University Press 1983. First edition. Quarto. Black cloth titled in gold. Printed dust jacket. 328 pp. 253 illustrations, with 21 color plates. Jacket with light wear overall, primarily to upper and lower edges. Interior unmarked and very clean. One of the most comprehensive books on the Russian avant-garde movement. A nearly fine copy in a very good or better dust jacket.
8 x 11 hardcover book with 328 pages and 253 illustrations (21 color). Includes biographical sketches; notes; select bibliography; index; list of Soviet artistic groups and exhibitions. History of the beginnings and flourishing of Russian Constructivism during the early years of the Revolution (1917- 1922), based on original sources in Soviet archives. Highly recommended.
Includes work by El Lissitzky, Alexandr Rodchenko, Naum Gabo, Vladimir Tatlin, Wassily Kandinsky, Konstantin Malevich, Ivan Kliun, Liubov Popova, Marc Chagall, Georgii Yakulov, K. A. Vialov, Alexandr Vesnin, Nadezhda Udaltsova, Nikolai Suetin, Varvara Stepanova, Vladimir Stenberg, Ivan Puni, Olga Rozanova, Natan Altman, Yurii Annenkov, Mikhail Larionov, Ivan Kudriashev, Petr Konchalovsky, Gustav Klucis, David Burliuk, Vladimir Burliuk, Ilia Chashnik, Vasilii Ermilov, Vera Ermolaeva, Alexandra Exter, Pavel Filanov. Natalia Goncharova, Pavel Mansurov, Mikhail Matiushin, Kasimir Medunetsky, Petr Miturich, Alexei Morgunov, Vera Nikolskaia, and many others.
During the years 1915-32, Moscow and Petrograd (from 1924, Leningrad) witnessed revolutions in art and politics that changed the course of Modernist art and modern history. Though the great revolution in art — the radical formal innovations constituted by Vladimir Tatlin's "material assemblages" and Kazimir Malevich's Suprematism — in fact preceded the political revolution by several years, the full weight of the new expressive possibilities was felt only after, and to a large extent because of, the social upheavals of February and October 191J. As avant-garde artists, armed with new insights into form and materials , sought to realize the Utopian aims of the Bolshevik Revolution, art and life seemed to merge.