Tatlin's reliefs: from Cubism to Abstraction
The creation of the first Non-Objective reliefs by Vladimir Tatlin in the years 1914-1915 has remained almost legendary, as, with a few exceptions, these works have been lost or destroyed. This is the reason most of them have come down to us solely through contemporary documents. Yet when first pres...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Weitere Verfasser: | |
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Kraków
IRSA Publishing House
2020
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | The creation of the first Non-Objective reliefs by Vladimir Tatlin in the years 1914-1915 has remained almost legendary, as, with a few exceptions, these works have been lost or destroyed. This is the reason most of them have come down to us solely through contemporary documents. Yet when first presented in Moscow, St Petersburg (1914 and 1915), Berlin (1922) and Amsterdam (1923), they were received with curiosity, interest and, in a few instances, rejection, for they signalled a real artistic revolution. They were subsequently overshadowed by the Monument to the Third International (1919-1920), an extraordinary utopian construction that Alfred Barr described in 1936 as "the most ambitious Constructivist work" of the century and which has fascinated generations of artists on both sides of the Atlantic during much of the 20th century. This book discusses the history and significance of the first abstract reliefs and presents numerous hitherto unpublished documents and an interpretation that casts a new light on the history of modern art, both Russian (Malewicz, Popova, Exter and other artists) and Western (Boccioni or Brancusi). A special place is given to an examination of the Cubist sources (Picasso) that played a decisive role in the artist?s bold creative leap. This study of the origins of abstract sculpture is an innovative exploration of a crucial moment in modern art: the passage from Cubism to Abstraction. |
| Beschreibung: | 347 Seiten Illustrationen |
| ISBN: | 9788389831378 8389831376 |
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| 520 | 3 | |a The creation of the first Non-Objective reliefs by Vladimir Tatlin in the years 1914-1915 has remained almost legendary, as, with a few exceptions, these works have been lost or destroyed. This is the reason most of them have come down to us solely through contemporary documents. Yet when first presented in Moscow, St Petersburg (1914 and 1915), Berlin (1922) and Amsterdam (1923), they were received with curiosity, interest and, in a few instances, rejection, for they signalled a real artistic revolution. They were subsequently overshadowed by the Monument to the Third International (1919-1920), an extraordinary utopian construction that Alfred Barr described in 1936 as "the most ambitious Constructivist work" of the century and which has fascinated generations of artists on both sides of the Atlantic during much of the 20th century. This book discusses the history and significance of the first abstract reliefs and presents numerous hitherto unpublished documents and an interpretation that casts a new light on the history of modern art, both Russian (Malewicz, Popova, Exter and other artists) and Western (Boccioni or Brancusi). A special place is given to an examination of the Cubist sources (Picasso) that played a decisive role in the artist?s bold creative leap. This study of the origins of abstract sculpture is an innovative exploration of a crucial moment in modern art: the passage from Cubism to Abstraction. | |
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| 600 | 1 | 7 | |a Tatlin, Vladimir E. |d 1885-1953 |0 (DE-588)118753975 |2 gnd |9 rswk-swf |
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| 600 | 1 | 7 | |a Boccioni, Umberto |d 1882-1916 |0 (DE-588)118512188 |2 gnd |9 rswk-swf |
| 600 | 1 | 7 | |a Ėkster, Aleksandra Aleksandrovna |d 1882-1949 |0 (DE-588)11886257X |2 gnd |9 rswk-swf |
| 600 | 1 | 7 | |a Brâncuşi, Constantin |d 1876-1957 |0 (DE-588)118673076 |2 gnd |9 rswk-swf |
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| 689 | 0 | 3 | |a Geschichte 1914-1930 |A z |
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| 689 | 1 | 3 | |a Ėkster, Aleksandra Aleksandrovna |d 1882-1949 |0 (DE-588)11886257X |D p |
| 689 | 1 | 4 | |a Boccioni, Umberto |d 1882-1916 |0 (DE-588)118512188 |D p |
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| 689 | 1 | 6 | |a Picasso, Pablo |d 1881-1973 |0 (DE-588)118594206 |D p |
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| 700 | 1 | |a Tatlin, Vladimir E. |d 1885-1953 |0 (DE-588)118753975 |4 ill | |
| 856 | 4 | 2 | |m V:DE-604 |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032274505&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-032274505 | |
Datensatz im Suchindex
| _version_ | 1808497393261346816 |
|---|---|
| adam_text |
CONTENTS
INTRODUCTION
THE ILLUMINATIONS
OF
MODERNITY .
.
.
.
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11
PROLOGUE
.
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18
PART
I
GRADUS
AD PARNASSUM
.
.
.
.
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.
. .
25
CHAPTER
1:
THE
Y
EARS
OF
APPRENTICESHIP .
.
.
.
27
NARCISSISTIC
WOUNDS ARE
NOT
HEALED
BY
THE EXPERIENCE
OF
THE SEAS
.
.
.
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.
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.
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.
.
.
.
.
29
ATTENDING
ART
SCHOOLS
.
.
.
.
.
.
.
32
IN
LARIONOV'S
FOOTSTEPS
.
.
.
.
.
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.
.
.
.
.
42
A PASSION
FOR
THE STAGE
.
.
.
.
.
46
A GROWTH
B
Y
CONCEPTUAL
LEAPS
.
.
.
.
.
50
CHAPTER
2:
IN
THE LABYRINTH
OF
MODERNITY
.
.
.
.
.
.
.
.
.
57
FROM
"
PURISM
"
TO CUBISM .
.
.
.
.
.
.
.
.
.
.
61
THE
FUTURIST
CATALYST
.
65
FROM
THE RADICALNESS OF
THE
"
PICTURE PLANE
"
TO THE END OF THE
"STAT
UARY"
.
.
.
.
.
70
THE
REVOLUTION OF
THE
ANALYTICAL
DRAWINGS
.
.
.
.
74
LIBERATING
FORM
FROM
THE
CONSTRAINTS OF
MASS
.
.
.
.
.
.
.
.
76
CHAPTER
3:
THE
PICASSO
YEAR
AND CUBIST COMPETITIVENESS
.
79
THE
SIGNIFICANCE OF THE
SYMBOLIST
HERITAGE:
THE ROLE OF THE THEORETICIAN
VLADIMIR
MARKOV
.
.
.
.
83
THE
PRECURSOR'S
FORMALISM
OF
TATLIN'S
FELLOW
TRAVELLER.
VLADIMIR
BURLJUK
.
.
.
.
.
.
88
AN
EXCESS OF THEORIZING
.
.
.
.
.
.
.
.
92
CHAPTER
4:
LIBERATING
THE
UNCONSCIOUS
.
.
.
.
.
.
.
.
103
SCULPTURE. PAINTING'S
POOR
RELATIVE
.
.
.
.
.
.
.
.
.
108
BREAKING
THROUGH
THE
CONFINES OF MASS
.
.
111
THE
BARRIER
OF
ABSTRACTION:
THE
LIMITS
OF
PARISIAN CUBISM
.
.
114
CHAPTER
5:
BEYOND CUBISM
.
.
.
.
.
.
.
.
.
.
.
.
119
THE MYTHICAL
JOURNEY:
BERLIN
AND
PARIS
.
.
.
.
.
125
THE
VISIT TO PICASSO
:
A REVELATION AND A
CONFIRMATION
.
127
IN
THE HUB
OF
MODERNISM:
STROLLING
AROUND
PARIS
.
131
PART
11
THE ADVENT
OF
MATURITY
.
.
.
.
.
.
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.
143
CHAPTER
6:
THE
REVOLUTION
OF
MATERIA
LS
.
.
.
.
.
.
.
.
.
.
.
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.
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.
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. 145
CATHARSIS .
.
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.
145
THE
FIRST
WAVE OF
RELIEFS:
MAY 1914
TO MARCH
1915
.
.
.
.
.
.
.
.
.
.
148
THE
FIRST
RELIEF
SURFACES
.
.
.
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.
.
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.
151
REFERENCES
TO
PRESUMABLE
SOURCES
.
.
.
.
.
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.
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.
153
AN APOLLONIAN
DIALOGUE
WITH
CUBISM
.
.
.
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156
CHAPTER
7:
FROM
COMPOSITION
T
O ASSEMBLAG
E
.
.
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.
165
F
ROM COLLAGE TO ASSEMBLAGE
.
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.
167
A
RICH
POETIC
VEIN
.
.
.
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.
170
A
C
INEMATOGR
APHIC
DIGRESSION:
FANTOMAS
.
.
.
.
.
.
.
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.
.
172
CHAPTER
8:
A
SALVO
OF
RELIEFS:
THE FIRST EXHIBITIONS
OF
THE
YEAR
1915
.
.
.
.
.
.
.
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.
.
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.
.
.
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.
177
THE
YEAR
1915
EXHIBIT
I
ON
IN
MOSCOW
.
.
.
.
.
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.
178
TUGENDHOLD
'
S
MORALISING
C
R
ITIQUE
.
.
.
.
.
.
.
.
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.
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.
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.
186
REPLACING THE WHOLE
WITH
A
PART
.
.
.
.
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.
.
.
.
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.
192
THE
ORIGINALITY
OF
RELATIONS
BETWEEN
MATERIA
L
S .
.
.
.
.
.
.
.
.
.
198
A
MEMORY
OF
THE
PAST
.
.
.
.
.
.
.
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.
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.
.
.
200
RETROSPECTIVE
EXCURSUS
.
.
.
.
.
.
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.
.
.
.
200
CHAPTER
9:
THE
CULM
IN
ATION
OF
AUTONOMOUS SCULPTURE
.
.
.
.
.
.
.
.
.
.
.
.
.
.
21
1
VISUALIZING POETRY: WASSILY
KAMENSKY, SERGEY
PODGAEVSKY
AND
OTHER
GUERR
ILL
AS
.
.
.
.
.
.
.
.
.
.
.
.
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.
.
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.
212
TRAMWAY
V
:
THE
RUBICON OF NON-OBJECTIVE
ART.
.
.
.
.
.
.
.
. 217
THE
EVOLUTION OF
TATLIN'S
FELLOW
COMBATANTS:
ROZANOVA AND POPOVA
.
.
.
.
.
.
.
.
.
.
.
.
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.
.
219
CHA
P
TER
10:
THE
SHOCK O
F
NON-OBJECTIV
E
MOD
ER
NISM:
THE
0,10
E
XHIBITION
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
227
A
DIFFICULT
MODERNIST
BIRTH:
REALIZING THE
0
,
10
PROJECT
.
.
.
.
.
.
.
.
.
.
.
.
.
.
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.
.
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.
.
.
.
.
.
.
.
.
.
227
HOW
THE
CORNER
R
ELIEF
EVOLVED
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
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.
234
THE DYNAMICS
OF TENSION
.
.
.
.
.
.
.
.
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.
.
.
.
.
.
.
243
THE
METAPHYSICS OF
TRANSPARENCY
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
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.
.
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.
.
244
THE
FIRST
SUBSTANT
I
AL COMME
N
T
ON
TATLIN'S RELIEFS
.
.
.
.
.
.
.
.
.
.
. 246
CHAPTER
11:
THE
FAILURE
OF
THE
SHOP
EX
H
IBIT
I
ON
.
.
.
.
.
.
.
.
.
.
.
253
AN
ART
EXHIBITION CAN NOT
BE
IMPROVISED
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
256
CONFLICT
AT
THE
SHOP
EXHIBITION
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
260
THE MOSCOW REJECTION
.
.
.
.
.
.
.
.
.
.
.
.
.
.
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.
.
.
.
.
.
.
.
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.
.
.
.
.
.
.
261
TUGENDHOLD'S
"PICASSIAN"
HINDRANCE
.
.
.
.
.
264
THE DEAD-END
OF CUBISM
:
INTERPRETATION
AND
ASSIMILATION
.
267
ENTHUSIASM OF THE
POST-
TATLIN
.
RELIEFISTS
"
.
270
PART
III
ON
THE CELESTIAL PATH:
COSMOGONY AND ARCHITECTURAL AUDACITY
.
.
.
.
.
.
.
.
.
.
273
CHAPTER
12:
IN THE WAKE
OF
KHLEBNIKOV'S
COSMOGONY . 275
THE
AFTERMATH
OF "STUDIO NO.
5
.
.
.
.
.
.
.
.
.
.
.
278
AN
ART
DERIVED
FROM
THE
RELIEFS
.
.
.
.
.
.
.
.
.
282
CHAPTER
13:
THE FLOWERING
OF
RELIEFS
IN
1917-1922
.
.
.
289
THE SUCCESS OF CAFE P
I
TTORESQUE:
THE ADOPTION OF TATLIN BY THE
BERLIN
DADAISTS .
.
.
.
.
292
THE
SHORT-LIVED
POST-REVOLUTIONARY
TATLIN BOOM .
.
.
.
295
CHAPTER
14:
THE ARCHITECTONIC APOTHEOSIS
OF
THE RELIEFS: THE
"TOWER"
OF
1919 [MONUMENT
TO
THE
THIRD
INTERNATIONAL]
.
.
305
T
HE
PROGRAMME
OF THE
MONUMENT
.
310
THE PROJECT
.
.
.
.
.
.
.
.
.
.
.
312
FU
NCTION BECOMES
FORM
.
.
.
.
.
313
BEYOND THE REVOLUTIONARY
IDEOLOGY: KATARZYNA KOBRO
AND THE
SPATIAL
ASSERTION
OF NON-OBJECTIVE
ART.
.
.
.
.
.
.
.
.
.
.
319
A NOSTALGIC
POSTSCRIPT
.
.
.
.
.
.
.
.
.
.
325
APPENDIX
I:
TATLLN'S RELIEFS, ASSEMBLAGES
AND PROJECTS
FOR RE
LI
EFS
.
.
.
.
.
.
.
.
.
.
.
.
329
APPENDIX
11:
NOTES R
E
GARDING ATTRIBUTIONS
.
.
.
.
.
335
INDE
X
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
341 |
| adam_txt |
CONTENTS
INTRODUCTION
THE ILLUMINATIONS
OF
MODERNITY .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
11
PROLOGUE
.
.
.
.
.
.
.
.
18
PART
I
GRADUS
AD PARNASSUM
.
.
.
.
.
.
.
.
. .
25
CHAPTER
1:
THE
Y
EARS
OF
APPRENTICESHIP .
.
.
.
27
NARCISSISTIC
WOUNDS ARE
NOT
HEALED
BY
THE EXPERIENCE
OF
THE SEAS
.
.
.
.
.
.
.
.
.
.
.
.
.
29
ATTENDING
ART
SCHOOLS
.
.
.
.
.
.
.
32
IN
LARIONOV'S
FOOTSTEPS
.
.
.
.
.
.
.
.
.
.
.
.
.
42
A PASSION
FOR
THE STAGE
.
.
.
.
.
46
A GROWTH
B
Y
CONCEPTUAL
LEAPS
.
.
.
.
.
50
CHAPTER
2:
IN
THE LABYRINTH
OF
MODERNITY
.
.
.
.
.
.
.
.
.
57
FROM
"
PURISM
"
TO CUBISM .
.
.
.
.
.
.
.
.
.
.
61
THE
FUTURIST
CATALYST
.
65
FROM
THE RADICALNESS OF
THE
"
PICTURE PLANE
"
TO THE END OF THE
"STAT
UARY"
.
.
.
.
.
70
THE
REVOLUTION OF
THE
ANALYTICAL
DRAWINGS
.
.
.
.
74
LIBERATING
FORM
FROM
THE
CONSTRAINTS OF
MASS
.
.
.
.
.
.
.
.
76
CHAPTER
3:
THE
PICASSO
YEAR
AND CUBIST COMPETITIVENESS
.
79
THE
SIGNIFICANCE OF THE
SYMBOLIST
HERITAGE:
THE ROLE OF THE THEORETICIAN
VLADIMIR
MARKOV
.
.
.
.
83
THE
PRECURSOR'S
FORMALISM
OF
TATLIN'S
FELLOW
TRAVELLER.
VLADIMIR
BURLJUK
.
.
.
.
.
.
88
AN
EXCESS OF THEORIZING
.
.
.
.
.
.
.
.
92
CHAPTER
4:
LIBERATING
THE
UNCONSCIOUS
.
.
.
.
.
.
.
.
103
SCULPTURE. PAINTING'S
POOR
RELATIVE
.
.
.
.
.
.
.
.
.
108
BREAKING
THROUGH
THE
CONFINES OF MASS
.
.
111
THE
BARRIER
OF
ABSTRACTION:
THE
LIMITS
OF
PARISIAN CUBISM
.
.
114
CHAPTER
5:
BEYOND CUBISM
.
.
.
.
.
.
.
.
.
.
.
.
119
THE MYTHICAL
JOURNEY:
BERLIN
AND
PARIS
.
.
.
.
.
125
THE
VISIT TO PICASSO
:
A REVELATION AND A
CONFIRMATION
.
127
IN
THE HUB
OF
MODERNISM:
STROLLING
AROUND
PARIS
.
131
PART
11
THE ADVENT
OF
MATURITY
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
143
CHAPTER
6:
THE
REVOLUTION
OF
MATERIA
LS
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
. 145
CATHARSIS .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
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.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
145
THE
FIRST
WAVE OF
RELIEFS:
MAY 1914
TO MARCH
1915
.
.
.
.
.
.
.
.
.
.
148
THE
FIRST
RELIEF
SURFACES
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
151
REFERENCES
TO
PRESUMABLE
SOURCES
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
153
AN APOLLONIAN
DIALOGUE
WITH
CUBISM
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
156
CHAPTER
7:
FROM
COMPOSITION
T
O ASSEMBLAG
E
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
165
F
ROM COLLAGE TO ASSEMBLAGE
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
167
A
RICH
POETIC
VEIN
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
170
A
C
INEMATOGR
APHIC
DIGRESSION:
FANTOMAS
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
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.
.
.
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.
.
.
.
.
.
.
.
.
.
.
.
.
172
CHAPTER
8:
A
SALVO
OF
RELIEFS:
THE FIRST EXHIBITIONS
OF
THE
YEAR
1915
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
177
THE
YEAR
1915
EXHIBIT
I
ON
IN
MOSCOW
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
178
TUGENDHOLD
'
S
MORALISING
C
R
ITIQUE
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
186
REPLACING THE WHOLE
WITH
A
PART
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
192
THE
ORIGINALITY
OF
RELATIONS
BETWEEN
MATERIA
L
S .
.
.
.
.
.
.
.
.
.
198
A
MEMORY
OF
THE
PAST
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
200
RETROSPECTIVE
EXCURSUS
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
200
CHAPTER
9:
THE
CULM
IN
ATION
OF
AUTONOMOUS SCULPTURE
.
.
.
.
.
.
.
.
.
.
.
.
.
.
21
1
VISUALIZING POETRY: WASSILY
KAMENSKY, SERGEY
PODGAEVSKY
AND
OTHER
GUERR
ILL
AS
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
212
TRAMWAY
V
:
THE
RUBICON OF NON-OBJECTIVE
ART.
.
.
.
.
.
.
.
. 217
THE
EVOLUTION OF
TATLIN'S
FELLOW
COMBATANTS:
ROZANOVA AND POPOVA
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
219
CHA
P
TER
10:
THE
SHOCK O
F
NON-OBJECTIV
E
MOD
ER
NISM:
THE
0,10
E
XHIBITION
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
227
A
DIFFICULT
MODERNIST
BIRTH:
REALIZING THE
0
,
10
PROJECT
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
227
HOW
THE
CORNER
R
ELIEF
EVOLVED
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
234
THE DYNAMICS
OF TENSION
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
243
THE
METAPHYSICS OF
TRANSPARENCY
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
244
THE
FIRST
SUBSTANT
I
AL COMME
N
T
ON
TATLIN'S RELIEFS
.
.
.
.
.
.
.
.
.
.
. 246
CHAPTER
11:
THE
FAILURE
OF
THE
SHOP
EX
H
IBIT
I
ON
.
.
.
.
.
.
.
.
.
.
.
253
AN
ART
EXHIBITION CAN NOT
BE
IMPROVISED
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
256
CONFLICT
AT
THE
SHOP
EXHIBITION
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
260
THE MOSCOW REJECTION
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
261
TUGENDHOLD'S
"PICASSIAN"
HINDRANCE
.
.
.
.
.
264
THE DEAD-END
OF CUBISM
:
INTERPRETATION
AND
ASSIMILATION
.
267
ENTHUSIASM OF THE
POST-
TATLIN
.
RELIEFISTS
"
.
270
PART
III
ON
THE CELESTIAL PATH:
COSMOGONY AND ARCHITECTURAL AUDACITY
.
.
.
.
.
.
.
.
.
.
273
CHAPTER
12:
IN THE WAKE
OF
KHLEBNIKOV'S
COSMOGONY . 275
THE
AFTERMATH
OF "STUDIO NO.
5
.
.
.
.
.
.
.
.
.
.
.
278
AN
ART
DERIVED
FROM
THE
RELIEFS
.
.
.
.
.
.
.
.
.
282
CHAPTER
13:
THE FLOWERING
OF
RELIEFS
IN
1917-1922
.
.
.
289
THE SUCCESS OF CAFE P
I
TTORESQUE:
THE ADOPTION OF TATLIN BY THE
BERLIN
DADAISTS .
.
.
.
.
292
THE
SHORT-LIVED
POST-REVOLUTIONARY
TATLIN BOOM .
.
.
.
295
CHAPTER
14:
THE ARCHITECTONIC APOTHEOSIS
OF
THE RELIEFS: THE
"TOWER"
OF
1919 [MONUMENT
TO
THE
THIRD
INTERNATIONAL]
.
.
305
T
HE
PROGRAMME
OF THE
MONUMENT
.
310
THE PROJECT
.
.
.
.
.
.
.
.
.
.
.
312
FU
NCTION BECOMES
FORM
.
.
.
.
.
313
BEYOND THE REVOLUTIONARY
IDEOLOGY: KATARZYNA KOBRO
AND THE
SPATIAL
ASSERTION
OF NON-OBJECTIVE
ART.
.
.
.
.
.
.
.
.
.
.
319
A NOSTALGIC
POSTSCRIPT
.
.
.
.
.
.
.
.
.
.
325
APPENDIX
I:
TATLLN'S RELIEFS, ASSEMBLAGES
AND PROJECTS
FOR RE
LI
EFS
.
.
.
.
.
.
.
.
.
.
.
.
329
APPENDIX
11:
NOTES R
E
GARDING ATTRIBUTIONS
.
.
.
.
.
335
INDE
X
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
341 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Nakov, Andrej B. 1941-2022 |
| author2 | Tatlin, Vladimir E. 1885-1953 |
| author2_role | ill |
| author2_variant | v e t ve vet |
| author_GND | (DE-588)1073523624 (DE-588)118753975 |
| author_facet | Nakov, Andrej B. 1941-2022 Tatlin, Vladimir E. 1885-1953 |
| author_role | aut |
| author_sort | Nakov, Andrej B. 1941-2022 |
| author_variant | a b n ab abn |
| building | Verbundindex |
| bvnumber | BV046865929 |
| ctrlnum | (OCoLC)1197703360 (DE-599)BVBBV046865929 |
| era | Geschichte 1914-1930 gnd Geschichte gnd |
| era_facet | Geschichte 1914-1930 Geschichte |
| format | Book |
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This is the reason most of them have come down to us solely through contemporary documents. Yet when first presented in Moscow, St Petersburg (1914 and 1915), Berlin (1922) and Amsterdam (1923), they were received with curiosity, interest and, in a few instances, rejection, for they signalled a real artistic revolution. They were subsequently overshadowed by the Monument to the Third International (1919-1920), an extraordinary utopian construction that Alfred Barr described in 1936 as "the most ambitious Constructivist work" of the century and which has fascinated generations of artists on both sides of the Atlantic during much of the 20th century. This book discusses the history and significance of the first abstract reliefs and presents numerous hitherto unpublished documents and an interpretation that casts a new light on the history of modern art, both Russian (Malewicz, Popova, Exter and other artists) and Western (Boccioni or Brancusi). A special place is given to an examination of the Cubist sources (Picasso) that played a decisive role in the artist?s bold creative leap. 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| id | DE-604.BV046865929 |
| illustrated | Illustrated |
| index_date | 2024-07-03T15:14:12Z |
| indexdate | 2024-08-27T00:11:55Z |
| institution | BVB |
| isbn | 9788389831378 8389831376 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032274505 |
| oclc_num | 1197703360 |
| open_access_boolean | |
| owner | DE-255 DE-29 DE-Y2 DE-Y3 |
| owner_facet | DE-255 DE-29 DE-Y2 DE-Y3 |
| physical | 347 Seiten Illustrationen |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | IRSA Publishing House |
| record_format | marc |
| spelling | Nakov, Andrej B. 1941-2022 Verfasser (DE-588)1073523624 aut Tatlin's reliefs from Cubism to Abstraction Andréi Nakov Kraków IRSA Publishing House 2020 347 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier The creation of the first Non-Objective reliefs by Vladimir Tatlin in the years 1914-1915 has remained almost legendary, as, with a few exceptions, these works have been lost or destroyed. This is the reason most of them have come down to us solely through contemporary documents. Yet when first presented in Moscow, St Petersburg (1914 and 1915), Berlin (1922) and Amsterdam (1923), they were received with curiosity, interest and, in a few instances, rejection, for they signalled a real artistic revolution. They were subsequently overshadowed by the Monument to the Third International (1919-1920), an extraordinary utopian construction that Alfred Barr described in 1936 as "the most ambitious Constructivist work" of the century and which has fascinated generations of artists on both sides of the Atlantic during much of the 20th century. This book discusses the history and significance of the first abstract reliefs and presents numerous hitherto unpublished documents and an interpretation that casts a new light on the history of modern art, both Russian (Malewicz, Popova, Exter and other artists) and Western (Boccioni or Brancusi). A special place is given to an examination of the Cubist sources (Picasso) that played a decisive role in the artist?s bold creative leap. This study of the origins of abstract sculpture is an innovative exploration of a crucial moment in modern art: the passage from Cubism to Abstraction. Popova, Ljubov' S. 1889-1924 (DE-588)119001128 gnd rswk-swf Tatlin, Vladimir E. 1885-1953 (DE-588)118753975 gnd rswk-swf Picasso, Pablo 1881-1973 (DE-588)118594206 gnd rswk-swf Boccioni, Umberto 1882-1916 (DE-588)118512188 gnd rswk-swf Ėkster, Aleksandra Aleksandrovna 1882-1949 (DE-588)11886257X gnd rswk-swf Brâncuşi, Constantin 1876-1957 (DE-588)118673076 gnd rswk-swf Malevič, Kazimir 1879-1935 (DE-588)118640836 gnd rswk-swf Geschichte 1914-1930 gnd rswk-swf Geschichte gnd rswk-swf Kubismus (DE-588)4165855-3 gnd rswk-swf Abstrakte Kunst (DE-588)4141146-8 gnd rswk-swf Kubismus (DE-588)4165855-3 s Abstrakte Kunst (DE-588)4141146-8 s Geschichte z Geschichte 1914-1930 z DE-604 Tatlin, Vladimir E. 1885-1953 (DE-588)118753975 p Malevič, Kazimir 1879-1935 (DE-588)118640836 p Popova, Ljubov' S. 1889-1924 (DE-588)119001128 p Ėkster, Aleksandra Aleksandrovna 1882-1949 (DE-588)11886257X p Boccioni, Umberto 1882-1916 (DE-588)118512188 p Brâncuşi, Constantin 1876-1957 (DE-588)118673076 p Picasso, Pablo 1881-1973 (DE-588)118594206 p Tatlin, Vladimir E. 1885-1953 (DE-588)118753975 ill V:DE-604 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032274505&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Nakov, Andrej B. 1941-2022 Tatlin's reliefs from Cubism to Abstraction Popova, Ljubov' S. 1889-1924 (DE-588)119001128 gnd Tatlin, Vladimir E. 1885-1953 (DE-588)118753975 gnd Picasso, Pablo 1881-1973 (DE-588)118594206 gnd Boccioni, Umberto 1882-1916 (DE-588)118512188 gnd Ėkster, Aleksandra Aleksandrovna 1882-1949 (DE-588)11886257X gnd Brâncuşi, Constantin 1876-1957 (DE-588)118673076 gnd Malevič, Kazimir 1879-1935 (DE-588)118640836 gnd Kubismus (DE-588)4165855-3 gnd Abstrakte Kunst (DE-588)4141146-8 gnd |
| subject_GND | (DE-588)119001128 (DE-588)118753975 (DE-588)118594206 (DE-588)118512188 (DE-588)11886257X (DE-588)118673076 (DE-588)118640836 (DE-588)4165855-3 (DE-588)4141146-8 |
| title | Tatlin's reliefs from Cubism to Abstraction |
| title_auth | Tatlin's reliefs from Cubism to Abstraction |
| title_exact_search | Tatlin's reliefs from Cubism to Abstraction |
| title_exact_search_txtP | Tatlin's reliefs from Cubism to Abstraction |
| title_full | Tatlin's reliefs from Cubism to Abstraction Andréi Nakov |
| title_fullStr | Tatlin's reliefs from Cubism to Abstraction Andréi Nakov |
| title_full_unstemmed | Tatlin's reliefs from Cubism to Abstraction Andréi Nakov |
| title_short | Tatlin's reliefs |
| title_sort | tatlin s reliefs from cubism to abstraction |
| title_sub | from Cubism to Abstraction |
| topic | Popova, Ljubov' S. 1889-1924 (DE-588)119001128 gnd Tatlin, Vladimir E. 1885-1953 (DE-588)118753975 gnd Picasso, Pablo 1881-1973 (DE-588)118594206 gnd Boccioni, Umberto 1882-1916 (DE-588)118512188 gnd Ėkster, Aleksandra Aleksandrovna 1882-1949 (DE-588)11886257X gnd Brâncuşi, Constantin 1876-1957 (DE-588)118673076 gnd Malevič, Kazimir 1879-1935 (DE-588)118640836 gnd Kubismus (DE-588)4165855-3 gnd Abstrakte Kunst (DE-588)4141146-8 gnd |
| topic_facet | Popova, Ljubov' S. 1889-1924 Tatlin, Vladimir E. 1885-1953 Picasso, Pablo 1881-1973 Boccioni, Umberto 1882-1916 Ėkster, Aleksandra Aleksandrovna 1882-1949 Brâncuşi, Constantin 1876-1957 Malevič, Kazimir 1879-1935 Kubismus Abstrakte Kunst |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032274505&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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