tugendkhold (8 Ergebnisse)

Paperback. Zustand: Brand New. 1st edition. 256 pages. 8.75x6.00x0.50 inches. In Stock.

Hardcover. Zustand: Brand New. 1st edition. 256 pages. 9.00x6.25x1.00 inches. In Stock.

Softcover/Paperback. Zustand: Fair. Yakov Tugendkhold. Khudozhestvennaya kultura Zapada. Sbornik statej. Moskva Nr. Leningrad: Gosudarstvennoe izdatelstvo, 1928. Yazyk: russkij. Strana izdaniya: SSSR. Tverdyj izdatelskij pereplet s sokhranennoj illyustrirovannoj oblozhkoj.Fundamentalnyj sbornik statej odnogo iz krupnejshikh sovetskikh iskusstvovedov i kritikov Yakova Tugendkholda, posvyashchennyj analizu zapadnoevropejskogo iskusstva kontsa XIX Nr. nachala XX veka. Avtor rassmatrivaet modernizm, ekspressionizm, kubizm, arkhitekturu i khudozhestvennye techeniya poslevoennoj Evropy. Kniga otrazhaet rannesovetskij vzglyad na khudozhestvennye protsessy Zapada i predstavlyaet interes kak dlya istorikov iskusstva, tak i dlya kollektsionerov izdanij 1920-kh godov. Illyustrirovannoe oformlenie oblozhki kharakterno dlya konstruktivistskoj epokhi.Sostoyanie: tverdyj pereplet s nakleennoj originalnoj illyustrirovannoj oblozhkoj. Oblozhka s utratami po krayam, znachitelnye potertosti i nadryvy, osobenno po levomu krayu i v verkhnej chasti. Ugly sbity. Koreshok tkanevyj, potertyj. Na titulnom liste imeyutsya karandashnye pometki inventarnyj nomer. Bumaga estestvenno pozheltevshaya. Bibliotechnykh shtampov na predstavlennykh foto ne vidno. Obshchee sostoyanie Nr. udovletvoritelnoe,

Hardcover/Hardback. Zustand: Fair. V knige ne khvataet mnogikh stranits v originale 391 str.Izdatelskaya oblozhka po risunku V.I.Mukhinoj.V nastoyashchem sbornike podvoditsya itog semi let, proshedshikh s momenta Oktyabrskoj revolyutsii i napolnennykh glubochajshimi peremenami v zhizni vsej strany. Rannij poslerevolyutsionnyj period unikalen tem, chto, v otlichie ot mnogikh drugikh revolyutsij raznykh vremen, byl epokhoj yarkikh, ochen interesnykh izmenenij v sfere kultury. V Rossii realizovyvalsya plan po obustrojstvu pervogo v mire rabochego gosudarstva. Novshestva v kulture byli sopostavimy po svoemu znacheniyu s tendentsiyami v sotsialno-politicheskoj zhizni. Rech shla o novoj, v podlinnom smysle massovoj, kulture, poskolku narodnye massy teper vydvigalis na pervyj plan kak glavnyj uchastnik istoricheskogo protsessa. I prosveshchenie, i chistaya nauka, i samye raznye otrasli iskusstva v tselom dolzhny byli perejti v ruki naroda i sposobstvovat ego vsestoronnemu razvitiyu.V izdanii detalno osveshcheno sostoyanie vsekh oblastej zhizni sovetskogo obshchestva i gosudarstva. Ponyatie kultury zdes traktuetsya vesma shiroko, podrazumevaya vse proyavleniya chelovecheskoj deyatelnosti: ekonomiku, voennoe delo, selskoe khozyajstvo, izdatelskoe delo, promyshlennost i t.d. Nevozmozhno bylo najti khotya by odnu storonu rossijskoj dejstvitelnosti, v kotoroj ne otrazilis privnesennye sovetskim stroem peremeny. V kazhdoj glave, posvyashchennoj kakoj-libo otrasli iskusstva, promyshlennosti, selskogo khozyajstva, obosnovyvaetsya ee znachenie v novykh istoricheskikh usloviyakh, podcherkivaetsya ta polza, kotoruyu ona mozhet dostavit sovetskim lyudyam. V chastnosti, muzyka rassmatrivalas otnyne v kachestve vazhnogo instrumenta psikhologicheskoj raboty s massami, ona otsenivalas kak znachitelnaya sotsialnaya sila. Pomimo muzyki, udeleno vnimanie iskusstvu sovetskoj knigi, kotoraya otkryla novuyu stranitsu v istorii russkoj knigi v tselom, putyam razvitiya sovetskoj literatury, teatralnogo iskusstva. Osoboe znachenie sovetskayanbsp;vlastnbsp;pridavali kinoindustrii. Sbornik 'Sovetskaya kultura', takim obrazom, byl zaduman kak 'vystavka dostizhenij' narozhdavshegosya sovetskogo stroya, ego ideologicheskoe obosnovanie, v nem demonstrirovalas osnova dlya razvitiya sovetskoj natsii. Uchityvaya, chto s momenta revolyutsii proshlo vsego neskolko let, kotorye byli zapolneny khaosom Grazhdanskoj vojny, takie masshtabnye, raznostoronnie i ochen zametnye dostizheniya sovetskogo gosudarstva byli porazitelny.Promyshlennost, tekhnika i drugie sfery narodnogo khozyajstva takzhe poluchili v sbornike dolzhnoe osveshchenie: rechnoj i zheleznodorozhnyj transport, sistema zdravookhraneniya, khudozhestvennaya promyshlennost. Opisanonbsp;sostoyanie vooruzhennykh sil, struktura gosudarstvennoj politicheskoj sistemy. V sbornike 'Sovetskaya kultura' predstavlena obektivnaya kartina zhizni Sovetskoj Rossii, pered ego avtorami ne bylo zadachi postroit 'Potemkinskuyu derevnyu'. Zdes so vsej pryamotoj pokazan krajne trudnyj, neveroyatno napryazhennyj put, prodelannyj ot polnoj razrukhi do sozdaniya osoboj sovetskoj realnosti. Sbornik, po suti, yavlyaetsya podrobnoj istoriej Sovetskoj Rossii za vremya s 1917 po 1924 g.g.Kniga otrazila nachalo vnutripartijnoj borby za vlast posle smerti V.I.Lenina. Predstavleny portrety i svedeniya o sovetskikh deyatelyakh, kotorye v 1924 g. nakhodilis na rukovodyashchikh postakh, no v uzhe v 1930-e g.g.nbsp;byli obyavleny vragami naroda i repressirovany, kak, naprimer,nbsp;L.D.Trotskij, A.I.Rykov, L.B.Kamenev i mnogie drugie. V izdanii net snimkov I.V.Stalina.nbsp;V sbornikenbsp;opublikovano mnozhestvo fotografij i fotomontazhej, sozdayushchikh illyustrativnyj ryad dlya toj ili inoj iz zatronutykh tem. Fotomontazhi stali yarkim proyavleniem konstruktivizma v khudozhestvennom oformlenii knigi. V podgotovke izdaniya i sozdanii ego dizajna prinimali uchastie znamenitye fotografy K.Bulla i P.A.Otsup, krupnejshie khudozhniki, v tom chisle i predstaviteli russkogo avangarda - Yu.Annenkov, S.Chekhonin, A.P.Ostroumova-Lebedeva, V.D.Falileev, I.N.Pavlov, A.A.Ekster i dr. Avtorami statej i razdelov knigi byli vedushchie spetsialisty v raznykh sferakh kultury: I.Lazarevskij, N.Semashko, E.Shamurin, A.Efros, L.Sabaneev, A.Sidorov, Ya.Tugenkhold i dr. Nekotorye stati prinadlezhali i zhenam partijnykh vozhdej, O.D.Kamenevoj i N.Trotskoj, zanimavshim otvetstvennye posty v oblasti kultury.

Soft cover. Zustand: Very Good. 1st Edition. Octavo 23x15.5cm., wrappers, 198 p., Photo portrait with tissue guard, illustrated throughout in two-tone reproductions. Cover design by Dmitry Mitrokhin (1183-1973), with a foreword by David Efimovich Arkin. Primarily remembered for his work as an art critic, Iakov Tugendkhol'd (1882-1928) was also art director, editor, museum director and curator. He was a preeminent spokesman for a new vision of Soviet art after the revolution, while already acknowledged as a leading expert in French painting of the 19th and early 20th centuries from his prior writings which earned him great prestige. This is a posthumous collection of essays covering the explosive rise of art, experimentation and creativity emerging from the Revolution forward. They appeared as articles in various journals, symposiums and other collections prior to his untimely death. Three-color cover fine, title page with a handwritten ownership note, some pencil marks.

First edition, 8vo (22 x 16 cm); with 43 illustrations, four of which are mounted (3 of these in colour), text in Russian; original grey wrappers printed in red & black, publisher's stamp to lower cover, spine sunned, very small stain to upper cover, a very good copy. The first monograph on the avant-garde artist and theatre designer. Tugendkhold's work on Alexandra Exter which he wrote in the Soviet Union was translated in to German, French and English. The original Russian edition, however, is scarce. Alexandra Exter played a pivotal role in bringing Western avant-garde movements to Ukraine. After studying at the Kyiv Art School, Exter moved to Paris where she befriended Robert Delaunay and Fernand Leger. Here, she began experimenting with Cubo-Futurism, which combined the abstract colours and forms from Cubism with the dynamic energy of Futurism. Exter's work often blended modernism with Ukrainian folk elements and in 1915 set up craft co-ops in the villages of Skoptsi and Verbivka. She is perhaps most well-known for her her innovative work in theatre, where she translated Cubo-Futurist shapes, colours, and movement into vibrant costume and set designs. In 1918, she opened a private studio in Kyiv and went on to train the next generation of modern artists such as Anatol Petrytsky.

Original Wraps. Zustand: Collectible; Very Good. 1st. 1922 1st edition of this uncommon monograph on Alexandra Exter, key member of the Russian Avant-Garde. VG in its original printed wrappers, with very light chipping at the spine ends and light creasing and chipping along the front panel's lower-edge. Binding still very solid and internally clean as could be. 39 soft black-and-white reproductions plus 4 mounted plates (3 of which are in vivid color). Octavo, 31 pgs. of text plus the plates. Published out of Weimar Berlin, text in Russian.

[Berlin]: Saria (Zaria), 1922. Octavo (21.5 × 15.5 cm). Original printed gray wrappers; 31, [1] pp. With thirty-nine plates and four tipped-in plates, of which three in color. Front wrapper with attractive, unattributed lettering in black and red. A small closed tear to bottom of spine; spine sun-tanned; else an unusually well-preserved copy. French translation of th? first monograph to document the creative impact of the avant-garde artist Aleksandra A. Ekster (1882?1949), a key representative of Cubist, Suprematist, and Constructivist tendencies, by the Russian art critic Iakov Tugendkhol?d (1882?1928). Originally published in Berlin as Alexandra Ekster kak zhivopisets i khudozhnik stseny (Alexandra Ekster as a painter and stage designer), the book remained the definitive work on Ekster for fifty years, until the 1972 exhibition catalogue by Andrei Nakov for Galerie Jean Chauvelin. An internationally acknowledged designer and painter, Ekster spent her childhood in Kyiv, where she attended Kyiv Art School (1901?1906), traveling to Paris to take classes at the Académie de la Grande Chaumière in 1907 and establishing connections with Picasso, Braque, and Gertrude Stein early on. Her idiosyncratic, highly recognizable, colorful and vibrant style left traces in painting, graphic design, set design, costumes, decorations for public festivities, as well as book design. In 1914, she exhibited with Kazimir Malevich and Aleksandr Archipenko, among others, and in 1915 she joined Malevich?s group ?Supremus.? After teaching at VKhUTEMAS in the early 1920s, she emigrated to Paris in 1924. This book showcases a wide range of her work, including graphic design, painting, and work for the theatre. Written in Russian and published in Berlin, the text was translated for her audience in France where she would spend the last 25 years of her life. Much like Ekster, the author of the volume, Iakov Tugendkhold, studied art in Paris at Academie Ranson (1905), returning to Russia after the 1905 Revolution, subsequently publishing books and articles on contemporary French painting. This volume was also translated into English and German. The Russian volume held by Getty (no. 794 in the catalog); MoMA 384. As of March 2025, KVK, OCLC show copies of the French edition at five institutions in North America.