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"The artist and architect El Lissitzky (1890-1941) is celebrated for his contributions to painting, architecture, photography, and graphic design, and for his role in disseminating Russian and Soviet avant-garde art in Europe during the 1920s. Though he worked in a diversity of media, Lissitzky nonetheless produced the majority of his work on paper in the form of innovative photomontages, architectural drawings, lithographs, typography, books, and photo magazines. This monograph--the first career-spanning archival study of Lissitzky since 1968--reveals that the artist's multiple pursuits arose from his deep commitment to print as the premier medium of public exchange in the young and turbulent twentieth century. Samuel Johnson demonstrates that paper and print media were preoccupations that shaped Lissitzky's worldview, values, politics, and production in ways that have never been fully appreciated. Probing Lissitzky's stance on the problems of distribution and reception, this book offers a compelling and nuanced portrait of Lissitzky as experimenter, visionary designer, technocrat, and propagandist-the very prototype of the twentieth-century artist, with a legacy that remains largely on paper"-- "An examination of the importance of paper in the work of Soviet artist, designer, and architect El Lissitzky. Russian artist El Lissitzky's work spans painting, photography, theatrical and exhibition design, architecture, graphic design, typography, and literature. He was active in the Jewish cultural renaissance, formed an artists' collective with Kazimir Malevich, was a key figure in the dissemination of early Soviet art in Western Europe, and designed propaganda for the Stalin regime. With such a varied history and body of work, scholars have often struggled to identify the core principles that tied his diverse oeuvre together. In El Lissitzky on Paper, Samuel Johnson argues that Lissitzky's commitment to creating works on paper is a constant that unites his endeavors. Paper played a key role in the utopian projects that informed Lissitzky's work, and the artist held a commitment to print as the premier medium of immediate public exchange. Johnson analyzes and contextualizes this idea against the USSR's strict management of this essential resource and the growth of new media communications, including the telephone, telegraph, and film. With this book, Johnson presents a significant contribution to scholarship on this major artist, revealing new connections between Lissitzky's work in architecture and visual art and bringing to light sources from largely unstudied Russian archives. "--

Design --- Art, Soviet. --- Architecture --- Graphic arts --- Avant-garde (Aesthetics) --- ART / History / Modern (late 19th Century to 1945) --- ARCHITECTURE / History / Modern (late 19th Century to 1945) --- History. --- Lissitzky, El,

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"We all know what Modern Art looks like. We've seen Monet's water lilies, we've admired Picasso's nudes, and we've gawked at Damien's shark, as well as the price tag. But what does it all mean? What is Modern Art? Who started it? Why do we love/hate it? And why is it such big money? What Are You Looking At? takes the reader on a captivating tour of modern art from Impressionism to the present day, telling the story of the movements, the artists and the wonderful works that not only changed art forever, but helped create and define the modern world. Refreshing, irreverent and extremely accessible, the book is rich with extraordinary tales and anecdotes - a coffee morning in Paris with Monet and the Impressionists, Marcel Duchamp purchasing his famous urinal, Sir Nicholas Serota, the Director of the Tate Empire confessing his terror at not knowing what to think every time he encounters a work of art for the first time. It also lifts the lid on the astronomically expensive art sales - how buying modern art has become a sound investment- and explains how the market really works - the artists, the dealers, the auction houses and the curators. With wonderful humor, down-to-earth storytelling, and a flair for odd details that spark insights, Will Gompertz is the perfect tour guide for Modern Art. He is a former director of the Tate Gallery in London and the BBC Arts Editor, so he brings both considerable expertise and genuine love of the subject to this informative and engaging narrative. What Are You Looking At? doesn't just tell you if a work of art is any good or not; it does much better than that. Will Gompertz arms us with the knowledge to be in a position to make our own minds up by telling us the one thing that we've always wanted to know: what are we looking at?"--

Art movements. --- Art, modern --- Art, modern --- Art / history / modern (late 19th century to 1945).

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This long-awaited and much-anticipated volume comprises a carefully collated collection of Robert Louis Jackson's essays on Chekhov.

Biblical references. --- Chekhov. --- Close reading. --- Interpretation. --- Late 19th-century Russian literature. --- Non-dogmatic. --- Short story. --- Subtext.

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In the Project P16901-G06 sponsored by the FWF, Camillo Sittes writings will be published for the first time in a „critical comprehensive edition“, scheduled for six volumes. The basis for this edition is provided by the “Sitte Nachlass-Archiv” which is owned by the Technical University, Vienna. The writings of volume one consist of Sittes publications in the field of art criticism and the applied arts. Those writings have been, in most cases, shorter publications in newspapers and journals which are difficult to access today. The unpublished and undated autograph “Faust, Fliegender Holländer und Meistersinger” as well as one letter to Richard Wagner from 1873, which is not contained in the Sitte archive, supplement his writings in the field of art criticism. The writings in the field of applied arts throw a new light onto the work of Camillo Sitte as director of vocational schools (i.e. Kunstgewerbeschulen), who elsewise is predominantly known as urban theorist and urban planner only. Those wrintigs give testimony to the political ambitions to foster the applied arts in the k. u. k. monarchy around Rudolf Eitelberger von Edelberg. They comprise almost all areas of arts and craft, ranging from traditional and local trades to the beginnings of industrial production. The writings in the field of art criticism derive mainly from Sittes early time in Vienna and document the vivid debates on the question of art between historism and emerging modern currents like secession, impressionism and expressionism. Furthermore, this thematic field contains a series of writings on Richard Wagner’s conception of art which illustrate Sittes own apprehension of art, as it will have impact especially on his chief work, "City Planning According to Its Artistic Principles" from 1889 (vol. 3 of this edition). Michael Mönninger and Wolfgang Sonne / Ruth Hanisch put these texts into context, inform about the current state of research and establish connections to others of Camillo Sitte’s fields of activity, which will be documented in the volumes of this edition to come. Furthermore, there is an extensive essay on the biography of Camillo Sitte by Michael Mönninger. Editorial work is done by Sonja Hnilica and Bernhard Langer. The Editors are Klaus Semsroth, Michael Mönninger and Christiane C. Collins. Im Rahmen des vom FWF finanzierten Projektes P16901-G06 werden erstmals sämtliche Schriften Camillo Sittes in einer auf sechs Bände angelegten "kritischen Gesamtausgabe" herausgegeben. Als Grundlage der Herausgabe dient der Bestand des Sitte Nachlass-Archives, das sich im Eigentum der Technischen Universität Wien befindet. Die Schriften von Band 1 betreffen Camillo Sittes Veröffentlichungen im Bereich der Kunstkritik und des Kunstgewerbes. Hierbei handelt es sich überwiegend um heute schwer zugängliche kürzere Veröffentlichungen in Tageszeitungen oder Fachzeitschriften. Der unveröffentlichte und undatierte Autograph "Faust, Fliegender Holländer und Meistersinger" sowie ein im Nachlass nicht enthaltener Brief an Richard Wagner von 1873 ergänzen Sittes Veröffentlichungen zur Kunstkritik. Die Schriften zum Kunstgewerbe werfen ein neues Licht auf das Schaffen des vorwiegend als Stadtbautheoretiker und Städtebauer bekannten Gewerbeschuldirektors Camillo Sitte. Diese Schriften bezeugen die politischen Bemühungen zur Förderung des Kunstgewerbes in der k. u. k. Monarchie im Kreis um Rudolf Eigelberger von Edelberg. Sie umfassen fast alle Bereiche des Kunstgewerbes von traditionellen und lokalen Gewerben bis zu den Anfängen industrieller Produktion. Die Schriften zur Kunstkritik stammen vorwiegend aus Sittes früher Zeit in Wien und dokumentieren pointiert die teils heftig geführten Debatten um eine zeitgenössische Kunst im Spannungsfeld zwischen Historismus und den aufkommenden modernen Strömungen wie Sezession, Impressionismus und Expressionismus. Weiters enthält dieser thematische Bereich eine Reihe von Schriften zur Kunstauffassung Richard Wagners, welche Sittes Kunstbegriff erhellen, wie er insbesondere in seinem Hauptwerk "Der Städtebau nach seinen Künstlerischen Grundsätzen" aus 1889 (Bd. 3 der Gesamtausgabe) zum tragen kommen wird. Michael Mönninger und Wolfgang Sonne / Ruth Hanisch stellen die Texte in einen historischen Kontext, geben zum gegenwärtigen Stand der Forschung Auskunft und stellen Verbindungen zu den anderen Wirkungsbereichen Camillo Sittes her, die in den folgenden Bänden dokumentiert werden. Den Texten vorangestellt ist weiters ein ausführlicher Beitrag von Michael Mönninger zur Person Camillo Sittes. Die redaktionelle Bearbeitung stammt von Sonja Hnilica und Bernhard Langer. Die Herausgeber der Gesamtausgabe sind Klaus Semsroth, Michael Mönninger und Christiane C. Collins.

Art --- Decorative arts. --- Camillo Sitte --- Arts and Craft --- Urban Planning --- Art Criticism --- Vienna late 19th Century --- Renaissance --- Philosophy. --- Sitte, Camiloo, --- Wagner, Richard, --- Aesthetics. --- Criticism and intrepretation. --- Camillo Sitte --- Arts and Craft --- Urban Planning --- Art Criticism --- Vienna late 19th Century --- Renaissance

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Ein wenig bekanntes Phänomen innerhalb des sogenannten Maurischen Revivals ist die intensive Auseinandersetzung russischer Architekten mit der ibero-islamischen Architektur, insbesondere mit den mittelalterlichen Nasridenpalästen der Alhambra in Granada. Die materialreiche Studie analysiert orientalisierende Bauwerke und Interieurs des 19. Jahrhunderts in St. Petersburg und zeichnet die Transferwege nach, über die das Formenvokabular der Alhambra von Spanien nach Russland gelangte. Sie bezieht wesentliche Aspekte der russischen Kulturgeschichte und der europäischen Orient-Vorstellungen des 19. Jahrhunderts mit ein und zeigt, dass russische Architekten und die Kaiserliche Akademie der Künste zu den Pionieren des Maurischen Revivals gehörten. Erstmalige Betrachtung der orientalisierenden Architektur St. Petersburgs im gesamteuropäischen Kontext Russische Architekten als Pioniere des Maurischen Revivals Little is known of Russian architects' in-depth engagement with Ibero-Islamic architecture, especially the medieval Nasrid palaces of the Alhambra in Granada, in the so-called Moorish Revival. This study, rich in material, analyzes 19th-century Orientalizing buildings and interiors in St. Petersburg and traces the routes by which the formal vocabulary of the Alhambra reached Russia from Spain. Incorporating essential aspects of Russian cultural history and 19th-century European notions of the Orient, it shows that Russian architects and the Imperial Academy of Arts were among the pioneers of the Moorish Revival. The first examination of St. Petersburg's Orientalizing architecture in a pan-European context Russian architects as pioneers of the Moorish Revival

ARCHITECTURE / History / Modern (late 19th Century to 1945). --- 19th century. --- Alhambra. --- Andalusia. --- Granada. --- Orientalism. --- Russia. --- Spain. --- St. Petersburg. --- architecture.