Altman natan (13 Ergebnisse)

paperback. Zustand: Like New. May have light shelf wear and/or a remainder mark. Complete. Clean pages. paperback.

Paperback. Zustand: Brand New. reprint edition. 152 pages. 8.25x5.25x0.50 inches. In Stock.

Hardcover. Zustand: As New.

cartonné. Zustand: Assez bon. IN-4° agrafé de 24 pages illustré de beaux dessins en couleurs par Natan Altman. Première édition en grand format de ce conte isolé. Couverture un peu poussiéreuse avec une tache en pied, nom inscrit en page de titre, agrafes rouillés, sinon en bon état. Natan Altman (illustrator).…

Paperback. Zustand: Very Good. 314p plain paper cover with cream card dustjacket with printed titles in brown, glassine jacket mostly present, frontispiece lithograph of Rimbaud as a boy by Nat. Altman, "withdrawn" stamp to endpaper, no other library markings, binding very firm, pages clean and fresh, red lettering to title page printed a hint slanted Language: French.…

4° kartoniert. 1. Aufl. 12 Seiten und die Seiten 193 - 214. Gutes bis sehr gutes Exemplar. Sprache: Deutsch Gewicht in Gramm: 280.

Hardcover. Zustand: gut. Auf der Suche nach 0,10: Die letzte futuristische Ausstellung der Malerei In deutscher Sprache. pages.

Soft cover. Zustand: Very Good. 1st Edition. Quarto 23.5x18 cm., wrappers, 14 leaves. Sketches made by Al'tman while working on a sculpture portrait of the leader. Ten North American institutional holdings. Getty 11, MOMA 331. This copy VG+.

One of the famous covers of the Avant-Garde --- In 1920, Altman was invited to the Kremlin to create a bronze portrait of Vladimir Lenin. To complete this task, he spent about six weeks with the Bolsheviks' leader, sketching his face and daily routine movements, such as sitting at the desk, reading, speaking on the phone and during meetings - apparently, Lenin did not have time or patience to deliberately pose for the portrait otherwise. The best sketches in preparation of the bronze bust eventually formed this booklet in which Lenin's facsimile signature is followed by ten reproductions of Altman's sketches: nine portraits and a view seen from the window of Lenin's office; each drawing is signed and dated "Nat. Altman, Moscow Kremlin, May 1920". All the sketches are rendered in realist style, unusual for Altman's 1920s art which manifests itself in his design of the suprematist cover - a fine example of Soviet avant-garde book art. Born in nowadays Ukraine to a Jewish family, Natan Altman (1889-1970) was a Soviet avant-garde artist, sculptor and book illustrator, who experimented in various modernist styles, significantly inspired by Jewish folk art. An ardent supporter of the Bolshevik revolution, he was a member of the main Soviet modernist art groups, including IZO-Narkompros (the Department of Fine Arts of the People's Commissariat for Education) and Kom-Fut (Communist Futurists), creating agitprop art and stage set designs. In 1928, Altman went on a tour in Europe with the Moscow State Jewish Theatre (GOSET) and remained in Paris until 1935. After his return to Russia in 1936, he was based in Leningrad, working mainly as a graphic designer and book illustrator, and trying to adhere to the party's new line, favouring socialist realism instead of modernism. Provenance: 'Iz Knig V.T.' ("from the books of V.T.", in Latin letters, followed by a 'No' without number, blue ink stamp to title). Physical description:Quarto (22.3 × 18.5 cm). Title, [2] ll., 10 plates, [2] ll. Original publisher's printed wrappers by Altman. Condition:Very slightly soiled and bumped at extremities, spine minimally restored; internally in very good condition. Bibliography:Moma 331. …

23.5 cm [3] leaves, [10] plates, [2] leaves. With a facsimile of Lenins signature and 10 plates with reproductions of drawings, 9 showing portraits of Lenin and one view of his office, all by Natan Altman. Original illustrated brochure. The front cover / jacket is in a good condition, the rear jacket is stained and has some stamps, the first three pages and the first illustration slightly waterstaine, otherwise fine. Rare / redko. The cover design in the suprematist style by Nathan Altman (1889-1970), one of the major soviet Ukrainian / Russian Jewish artists of the 20th century. In 1910/11 he met Chagall, Archipenko and other artists in Paris and participated in 1922 at the 1st Russian art exhibition in Berlin. (Erste Russische Kunstausstellung Berlin). One of this most famous portraits is the one of the poet Anna Akhmatova. Altman was invited to the Kremlin to create a bronze portrait of Vladimir Lenin, Lenin did not have time for a portrait session, there Altman was forced to draw Lenin whilst his work /meetings. The sketsches were used to create the bronze. Sprache: russisch.…

Zustand: Good. Poster. 81 x 48cm.Yehezkiel Dobrushin, *RWGHUID\HU (God the Fire)Moscow: Yungwald, 1922.Book cover design (in Yiddish).Nathan Altman (1889-1970), born in Vinnytsia (present-day Ukraine), an avant-garde artist, painter, graphic designer, sculptor, book illustrator and stage designer. His varied work belongs to various styles - Cubism, Constructivism, Futurism, and Suprematism - and reflects the many changes in his world, both artistic and political.He began his art studies in Odessa; in 1910 he moved to Paris, where he continued his studies and associated with the artists of the "Machmadim" group which advocated Zionist Jugendstil. In 1912, Altman returned to Russia and settled in St. Petersburg. He spent the summer of 1913 sketching reliefs found on Jewish tombstones and developing a Cubist style based on Jewish folk art. At that time, he founded a Jewish Society for the Encouragement of the Arts. Altman was an enthusiastic supporter of the Bolshevik revolution, after which he was appointed a member of the IZO-Narkompros (the Department of Fine Arts of the People's Commissariat for Education). In 1919, he became one of the prominent artists of the "Kom-Fut" group (Communist Futurists). He worked for the Monumental Propaganda plan conceived by Lenin, and created agitprop art. During the early 1920s, Altman worked as a stage designer for HaBimah Theater and the Jewish State Theater Goset. .His Constructivist costume design for the play "The Dybbuk", staged by HaBimah Theater in 1922, incorporated elements taken from Jewish folk and religious art; and his stage design for the Goset production of "Uriel da Costa" was his most advanced Constructivist work at the time. In 1922, his works were exhibited at the "First Russian Art Exhibition" in Berlin and alongside works by Chagall and Sternberg in the "Exhibition of the Three" of the Kultur Lige group. In the early 1920s, Altman was a prominent artist whose works expressed the spirit of the party and the revolution - the rebellion against the old degenerate order - and in this capacity he created a series of sketches and a bust of Lenin. In 1928, Altman went on a tour with the Goset theater and remained in Paris until 1935. While there, the Party's attitude towards art went through a transformation. Already in the mid-1920s the party began furthering socialist realism and restricting the activity of avant-garde groups, claiming art should serve defined goals, be simple and understood by everyone and portray the beauty of communist reality. In 1932, with Altman still out of the country, the central committee of the communist party banned any union of independent artists. From then on, the party imposed its new and preferred style, socialist realism, and avant-garde was pushed to the new status of "bourgeois" art, enemy of the revolution. Returning to Russia in 1936, Altman settled in Leningrad, and as an undesirable artist worked mainly as a graphic designer, book illustrator and stage designer, trying to adhere to the party's new line.Literature: Russian Jewish Artists in a century of Change 1890-1990, edited by Susan Tomarkin Goodman. Munich /New York: Prestel, 1995. p. 146. …

St. Petersburg: Izdanie Otdela izobrazitel?nykh iskusstv Narodnogo komissariata po prosveshchenii?u?, 1921. Octavo (23.5 × 19.2). Original pictorial wrappers by Natan Al'tman; [4] leaves including title, editor's note, and facsimile signature of Lenin; [12] leaves of lithographs to recto; [2] leaves including list of illustrations and colophon. Light soil to wrappers, small creases along wrapper edges; else very good. A volume containing ten portraits of Lenin with Constructivist wrappers by the avant-garde graphic artist, painter, and sculptor Natan Al'tman (1889-1970). The wrapper design includes elements of both Futurism (lettering) and Constructivism (use of line and color) with this clearly a transitional work for Al'tman. The lithograph reproductions include portraits of the Bolshevik leader at work, speaking on the phone, meeting with the German workers, and with representatives of the British Unions. The final drawing shows the view from Lenin's office overlooking the Kremlin. The sketches were made over the course of six weeks in the spring of 1920, when Al'tman was allowed to observe Lenin at work in his office, in preparation for the creation of a sculpted bust of the Bolshevik leader, making Al'tman one of a handful of artists who was able to make live sketches of Lenin. Born in Vinnytsia (Ukraine), Al'tman studied at the Grekov Odessa Art School (1902-1907, continuing his art education in Paris in 1910. On his return, he participated in key modernist and avant-garde exhibitions such as The Society of Artists of Southern Ukraine (Odessa, 1910), Mir Iskusstva (St. Petersburg, 1913), Soiuz Molodezhi (St. Petersburg, 1913), Last Futurist Exhibition 0,10 (Petrograd, 1915), Jack of Diamonds (Moscow, 1916). In the same period he illustrated Futurist books such as Aleksei Kruchenykh's "Explodity" (along with Natalia Goncharova, Nikolai Kul'bin, Kazimir Malevich, and Olga Rozanova). See no. 55 in The Russian Avant-Garde Book 1910-1934). In 1918-1919, he co-edited Iskusstvo Kommuny (with Osip Brik and Nikolai Punin), the first Futurist newspaper in Petrograd. Al'tman's famous decorations for the first anniversary of the Bolshevik revolution in 1918 in Petrograd contained cubo-futurist elements. The wrappers of the present publication seem to reference El Lissitzky's iconic design of the propaganda poster "Beat the Whites With the Red Wedge" created just a year prior in 1919. No. 331 in The Russian Avant-Garde Book 1910-1934 (MoMA Collection). As of March 2025, KVK, OCLC show eight copies in North America.…

ALTMAN, Natan Isaevich. Lenin: risunki i oblozhka raboty Natana Al'tmana. [28] pp., illustrated with 10 reproductions of drawings by Natan Altman. 8vo, 230 x 190 mm., bound in original illustrated tan wrappers, in a new linen cloth folding box. Saint Petersburg: Otdela Izobrazitel'nykh iskusstv Narodnogo Komissariata po Prosveshcheniiu, 1921. First edition of this series of nine portraits of Lenin at work and at rest by one of the major figures of Russian Futurism. Natan Altman (1889-1970) was a painter, graphic artist, theatrical designer and a contributor to the seminal volume Worldbackwards. The work consists of nine intimate portraits of Lenin and a view of the Kremlin from his office. Front wrapper illustrated with an attractive Suprematist design by Altman. Rowell & Wye, No. 331.…