100 Years On: Revisiting the First Russian Art Exhibition of 1922
Contributions by Ewa Bérard Contributions by Linda Boersma Contributions by Sebastian Borkhardt Contributions by Kasper Braskén Contributions by Ilia Doronchenkov Contributions by Éva Forgács Contributions by Kristina Kratz-Kessemeier Contributions by Christina Lodder Contributions by Iryna Makedon Contributions by Myroslava Mudrak Contributions by Toshiharu Omuka Contributions by Ludmila Piters-Hofmann Contributions by Willem Jan Renders Contributions by Monika Rüthers Contributions by Ulrich Schmid Contributions by Merse Pál Szeredi Contributions by Daniel Kroll Contributions by Naila Rahimova Contributions by Xadija Asadova Contributions by Natalia Avtonomova Contributions by Irina Karasik Contributions by Irina Kochergina Contributions by Liubov Pchelkina Contributions by Dilyara Sadykova Contributions by Isabel Wünsche Contributions by Miriam Leimer Edited by Isabel Wünsche Edited by Miriam Leimer
Hardback (Published)
(December 2022)
ISBN: 9783412525644
8.86 x 11.22 inches
Price: $99.00
In stock
Moving away from the narrow focus on the avant-garde, the volume presents new research that examines the exhibition’s broader historical scope and cultural implications. The reception of the exhibition within artistic circles in Germany, Europe, the United States, and Japan in the 1920s is addressed, as well as the disposition of many of the works exhibited. The combination of longer, thematic essays and short features, along with reproductions of newly identified works and a selection of unpublished archival materials make this book valuable to both a scholarly and a general readership.
The First Russian Art Exhibition (Erste Russische Kunstausstellung), which opened at the Galerie van Diemen in Berlin on October 15, 1922, and later travelled to Amsterdam, introduced a broad Western audience to the most recent artistic developments in Russia. The extensive show – more than a thousand works, including paintings, graphic works, sculptures, stage designs, architectural models, and works of porcelain – was remarkably inclusive in its scope, which ranged from traditional figurative painting to the latest constructions of the Russian avant-garde. Coming on the heels of the Treaty of Rapallo, the exhibition was a first cultural step towards bilateral relations between two young and yet internationally isolated new states – the Weimar Republic and the Russian Soviet Republic. Moving away from the narrow focus on the avant-garde, the volume presents new research that examines the exhibition’s broader historical scope and cultural implications. The reception of the exhibition within artistic circles in Germany, Europe, the United States, and Japan in the 1920s is addressed, as well as the disposition of many of the works exhibited. The combination of longer, thematic essays and short features, along with reproductions of newly identified works and a selection of unpublished archival materials make this book valuable to both a scholarly and a general readership.
- Contributions by Ewa Bérard
- Contributions by Linda Boersma
- Contributions by Sebastian Borkhardt
- Contributions by Kasper Braskén
- Contributions by Ilia Doronchenkov
- Contributions by Éva Forgács
- Contributions by Kristina Kratz-Kessemeier
- Contributions by Christina Lodder
- Contributions by Iryna Makedon
- Contributions by Myroslava Mudrak
- Contributions by Toshiharu Omuka
- Contributions by Ludmila Piters-Hofmann
- Contributions by Willem Jan Renders
- Contributions by Monika Rüthers
- Contributions by Ulrich Schmid
- Contributions by Merse Pál Szeredi
- Contributions by Daniel Kroll
- Contributions by Naila Rahimova
- Contributions by Xadija Asadova
- Contributions by Natalia Avtonomova
- Contributions by Irina Karasik
- Contributions by Irina Kochergina
- Contributions by Liubov Pchelkina
- Contributions by Dilyara Sadykova
- Contributions by Isabel Wünsche
- Contributions by Miriam Leimer
- Edited by Isabel Wünsche
- Edited by Miriam Leimer
Similar Books
Legal Visuality
Exegesis, Ambiguity, and Dissimulation of the Donation of Constantine in the Early Modern Period
Linguistic and Media Studies Perspectives on Research into Social and Political Polarisation
The Case of Poland
Naples as Laboratory / Laboratorium Neapel
Style Options, Artistic Rivalry and Self Fashioning in Neapolitan Baroque Painting / Plurale Stilbildung, Kunstlerkonkurrenz und Self Fashioning in der neapolitanischen Barockmalerei
Nurturing the Elite
Representations of Drinking, Eating, and Religious Vessels in Palmyrene Funerary Iconography
Volume 13
Portraying the Individual in the Roman East
Local–Imperial Entanglements in Sculpture, Mosaics, and Paintings (First–Fourth Centuries AD)
Volume 18
Technical Studies of Asian Art
Proceedings of the Seventh Forbes Symposium at the Freer Gallery of Art
Art and Mysticism in Silesia in the Baroque Period
Angelus Silesius, Bernhard Rosa, and Michael Willmann
Beiträge zur Islamischen Kunst und Archäologie
The Arts and Archaeology of Funerary Cultures in Islam
Volume 10.0
