Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The Soviet Union left behind a vast design heritage that is largely unknown in the West. Unlike Soviet-era architecture and graphic design, interior design from this period has not been thoroughly investigated. For the first time, this book offers a comprehensive survey of Soviet interior design from constructivism and the revolutionary avant-garde to late modernism. Based on extensive research and drawing on archives that were inaccessible until recently, Kristina Krasnyanskaya and Alexander Semenov document seven decades of interior design in the Soviet Union. They demonstrate that, while often discredited as monotonous, the work of designers, architects, and manufacturers behind the Iron Curtain, in fact, comprises a remarkable variety of original styles. The 1920s were marked by bold exploration and experimentation at state-run art and technical school Vkhutemas and by overlapping movements such as constructivism, rationalism, and suprematism. The 1930s brought Soviet art deco and Stalinist Empire style, which produced some of the Soviet Union's most iconic buildings. In the late 1950s, after Stalin's death, modernism emerged with functionalist furniture mass-produced to fit small apartments in housing developments. The 1960s marked the Golden Age of Soviet interior design, while most of the visionary work of a new generation of designers in the 1970s remained unrealized. With some four-hundred illustrations and a wealth of previously unpublished material, Soviet Design will become the definitive reference on the subject.

Design --- Constructivism (Art) --- Modernism (Art) --- History --- Constructivisme (art) -- URSS --- Constructivisme --- Mouvement moderne --- Modernisme (art) -- URSS --- URSS

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The extraordinary suprematist painting Black and White, A Suprematist Composition of 1915 by Kazimir Malevich was one of the most radical paintings of its day: a geometric abstraction without reference to external reality. It was donated to Moderna Museet in February 2004 and to celebrate its fiftieth anniversary the museum commissioned the renowned Malevich scholar, Dr. Andrei Nakov, to produce this study devoted entirely to this significant addition to its collection. Kazimir Malevich (1878-1935) was a Russian avant-garde painter and art theoretician. A pioneer of geometric abstract art, he was the founder and leading artist of the Suprematist movement. Dr. Andrei Nakov, born 1941 in Sofia, Bulgaria, lives and works in Paris. The author of numerous works on Malevich, including Malevitch écrits (1975) and Kazimir Malewicz: Catalogue raisonné (2002), he has also published numerous monographs and exhibition catalogues on Russian non-objective art, Dada and Constructivism and many works on Western modern art.

Constructivisme --- Suprématisme --- Malevich, Kazimir --- Malevich kazimir --- twintigste eeuw --- Rusland --- Sovjet-Unie --- suprematisme --- abstractie --- abstracte schilderkunst --- constructivisme --- kunst --- geometrische abstractie --- 75.071 MALEVICH --- Painting --- Suprematist --- conservatie --- kunstgeschiedenis --- Malevitsj, Kasimir

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The book is a comparative study of the constructivist avant-garde artists in Central Europe, the Hungarian MA group in exile in Vienna, the Blok group in Warsaw, and the Czech Devětsil association of artists in Prague. The author examines the similarities and significant differences among them. Contrary to often-repeated theses, the study reveals that the artists unremittingly sought new formulations for an initial set of formal and theoretical issues. It also demonstrates that they persistently believed that their works of art prefigured a future socialist society. The long-awaited socialist states that came into being after World War II betrayed the artists.

Constructivism (Art) --- Constructivisme (Art) --- Central Europe. --- Art, Modern --- Concrete art --- Painting, Abstract

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Iconography --- Mathematics --- Proportion (Art) --- Composition (Art) --- Kunst en wetenschap ; kunst en wiskunde --- Perspectief --- Constructivisme --- 7.049 --- Iconografie ; verschillende onderwerpen

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

À la 61e minute, 25e seconde de la Mort d'Empédocle, un lézard fait irruption en bas du champ et disparaît d'emblée. Il faut s’exercer, la perception aux aguets, pour qu’il ne passe pas inaperçu. Mais une fois qu’on l’a vu, on ne regarde et on ne pense plus le monde comme avant. Car pour Danièle Huillet et Jean-Marie Straub (et pour Rosa Luxembourg) le sort d’un petit reptile a autant d’importance que le sort de la révolution. Ce livre va ainsi à la rencontre d’une œuvre au pluriel de ses textes, de ses musiques (la têtue géométrie cézannienne comme aplat géologique de l’image), et sans auteur fixe : le nom propre est « l’appréhension instantanée d’une multiplicité » (Deleuze) et celle-ci un événement qui continue aujourd’hui pour les Straubs. Chaque chapitre compose une carte mouvante, qui se répète et se modifie. Il s’agit d’une cartographie tout d’abord italienne, depuis les constellations des films-Pavese et Vittorini et d’un autre Dante exilé au paradis. Dès lors, on dérivera de l’ailleurs-dehors de l’Italie fasciste et « démocratique », post-fasciste (Fortini), à l’Allemagne nazie et « démocratique », post-nazie (Brecht), à l’Égypte nomadisée, mosaïque de Schœnberg, à ses révoltes trop tôt trop tard d’hier et d’aujourd’hui, à la Palestine hallucinatoire de Kafka… D’où l’interférence avec les visions de Godard ou encore avec le regard-désert d’Antonioni. Donc, un livre-carte, dont les Straubs ne sont pas les sujets mais les passeurs, jusqu’aux derniers films en numérique qui extériorisent un réalisme psychique terrifiant et vivant… Image roche, sur roche, contre le saccage du capitalisme planétaire. Un lézard.

Music, Dance, Drama & Film --- Film --- Straub, Jean-Marie --- Huillet, Danièle --- Criticism and interpretation. --- non style --- littérature --- constructivisme --- cinéma --- style