Leningradskaja škola litografii: putʹ dlinoju vek = The Leningrad lithography school
Ленинградская школа литографии путь длиною век
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Sankt-Peterburg
"NP-Print"
2021
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 359 Seiten |
| ISBN: | 9785604627440 |
Internformat
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Datensatz im Suchindex
| _version_ | 1817598248890662912 |
|---|---|
| adam_text |
Оглавление От кураторов б Термины и сокращения 7 От традиции к новации 198 Введение 9 Стихийно талантливы 204 Предпосылки 15 Эхо войны. Эхо экспрессионизма 214 16 Урбанизм 222 20 Герои и рыцари повседневности 228 Спорт и современность 236 242 248 Возрождение авторского эстампа Самозваное искусство
Трансформации Альбомный этап. Комитет популяризации художественных изданий 26 О романтическом Три образа Петербурга 32 Вторая графика Становление 39 Мифы 197 259 40 Жизнь «после мифа» 46 Петербургский миф и метафизика 268 Графическая мастерская Академии художеств 50 Русский миф 276 Елизавета
Кругликова и Дом санитарной культуры 60 Владимир Конашевич Владимир Лебедев и художники «Детгиза» Основание Графической лаборатории-мастерской ЛОССХ «Искусство в массы» 64 75 260 Группа «Цех» 284 Лито-Клуб-Коллекция 294 Объединение имени Н. А. Тырсы 302 Заключение 312 Справочный раздел 319 Три
букета, или В поисках цвета 76 Живописцы в литографии 82 Библиография 320 Агитация за счастье 92 Ленинградские-петербургские художники-литографы. XX век 328 Детский лубок 102 Последняя обитель 110 «Боевой карандаш» в годы войны 116 Время расцвета Summary збо 123 После блокады. Экзистенциальный опыт
124 В ожидании «оттепели» 134 Установка на синтез 142 Курс на декоративность 150 Реабилитация быта 160 Поиски современного стиля 172 Международное признание 182 5
Nikolai Kononikhin The Leningrad Lithography School A Century-Long Journey St. Petersburg, 2021 Summary The albums created by Mstislav Dobuzhinsky, Vladimir Konashevich, and Georgi Vereisky debuted ‘Leningrad Li thography’ in the early 1920s. While Vladimir Lebedev’s li thographed books highlighted many artists’ textural-plastic experiments. During this period, prints were created at the Arts’ Academy graphics workshop, the Committee for Popu larisation of Art Publications [КРКҺ1], and at Detgiz [State Publishing House for Children's Literature] under Lebedev’s supervision. Leningrad Lithography’s zenith is associated with the Exper imental Lithographic Workshop (EPM), founded in 1933, operated for almost sixty years until the mid-1990s. The prerequisites for its achievements were established in the 1920s. Although, the Mir iskusstva [World of Art] circle dis tinguished authored-printmaking as an independent artistic technique already at the dawn of the twentieth century. The creation of a Leningrad Lithography School occurred slowly, initially unconfidently, unnoticed, and was almost extinguished during the struggles against formalism. Then, it exploded onto the scene in 1938-39 with Samuil Alyansky’s arrival, and Nikolai Tyrsa's colour experiments. The Novem ber 1939 Moscow exhibition publicly announced the ‘birth’ of Leningrad Lithography. The year 1939 was noteworthy as it established Leningrad Lithography as a phenomenon. Yet, it was the year 1961 that affirmed the existence of a fully-fledged ‘School’, with a powerful, professional and creative collective,
artists and young followers, gathered around the pre-war students, and now post-war leaders (Boris Ermolaev, Anatoli Kaplan, Yuri Vasnetsov, and Aleksandr Vedernikov). Eric Estorick, a London-based gallery-owner recorded the existence of the School, without realising it, when he exhibited works by twenty-seven Leningrad Lithography artists in London and New York in 1961. The exhibitions received wide praise in the Western press {The London Times, Apollo, Connoisseur, and Studio magazines). Moreover, the lithographs were sub sequently acquired by the Derfner Judaica Museum + The Art Collection, the Museum of Modern Art [MoMA], the National Gallery, the Jane Voorhees Zimmerli Art Museum, museums in Oklahoma, Ohio, and Pennsylvania (USA), the Fitzwilliam Museum, and the Art Gallery of Aberdeen (UK), as well as the private collections of Lauren Bacall, Lessing Rosenwald (USA), and Lothar Boltz (GDR), among others. After the 1961 international triumphs, the Workshop did not rest on its laurels. In the 1960s and 1970s, new inspira tions and a new plastic vision emerged, as well as an un derstanding of the value of prints created from lithographic stones. Some artists worked briefly, while others remained their entire lives. Among the long-term lithographers were Aleksandr Agabekov, Viktor Valtsefer, and Viktor Viiner. Georgi Kovenchuk, Aleksandr Skolozubov, and Boris Vlasov visited occasionally to resolve specific creative tasks. Each artist introduced valuable contributions into the formation of a ‘contemporary style’. During the 1980s, several artistic generations were
working in the Workshop simultaneously. Some began before the war, Valentin Kurdov, Vera Matyukh, and Gerta Nemenova. Some artists arrived in the following decades, such Aleksandr Aga bekov and Viktor Viiner, as well as very young artists. There were also the novices, who were exploring through the tradi tions, plastic art tasks, characteristic to modernism's aesthet ics. Vadim Brodsky, Mikhail Karasik, Nikolai Klimushkin, Lyudmila Sergeeva and Vladimir Viderman were thinking with new categories, closer to post-modernism aesthetics, boldly employed minimalist stylistics, children's drawing techniques, folklori c lubok prints, metaphysics, and historical styles. Nonetheless, despite their 'revolutionary' approaches, they organically continued the elders' vector, experiment, exploration, innovation, new thinking. In the tumultuous perestroika years, with the collapse of the country, as well as the old systems for art support, and the transition to a mar ket economy, the artists worked hard to save the workshop. Organised by Vadim Brodsky, the N. A. Tyrsa Creative Asso ciation, named in honour of the colour-lithography pioneer, extended the Workshop’s life for a few more years, but did not avert its demise. As any great phenomenon, the Lenin grad Lithography School is now a historical milestone. Bayerische StaaîsbfcicChe'c |
| adam_txt |
Оглавление От кураторов б Термины и сокращения 7 От традиции к новации 198 Введение 9 Стихийно талантливы 204 Предпосылки 15 Эхо войны. Эхо экспрессионизма 214 16 Урбанизм 222 20 Герои и рыцари повседневности 228 Спорт и современность 236 242 248 Возрождение авторского эстампа Самозваное искусство
Трансформации Альбомный этап. Комитет популяризации художественных изданий 26 О романтическом Три образа Петербурга 32 Вторая графика Становление 39 Мифы 197 259 40 Жизнь «после мифа» 46 Петербургский миф и метафизика 268 Графическая мастерская Академии художеств 50 Русский миф 276 Елизавета
Кругликова и Дом санитарной культуры 60 Владимир Конашевич Владимир Лебедев и художники «Детгиза» Основание Графической лаборатории-мастерской ЛОССХ «Искусство в массы» 64 75 260 Группа «Цех» 284 Лито-Клуб-Коллекция 294 Объединение имени Н. А. Тырсы 302 Заключение 312 Справочный раздел 319 Три
букета, или В поисках цвета 76 Живописцы в литографии 82 Библиография 320 Агитация за счастье 92 Ленинградские-петербургские художники-литографы. XX век 328 Детский лубок 102 Последняя обитель 110 «Боевой карандаш» в годы войны 116 Время расцвета Summary збо 123 После блокады. Экзистенциальный опыт
124 В ожидании «оттепели» 134 Установка на синтез 142 Курс на декоративность 150 Реабилитация быта 160 Поиски современного стиля 172 Международное признание 182 5
Nikolai Kononikhin The Leningrad Lithography School A Century-Long Journey St. Petersburg, 2021 Summary The albums created by Mstislav Dobuzhinsky, Vladimir Konashevich, and Georgi Vereisky debuted ‘Leningrad Li thography’ in the early 1920s. While Vladimir Lebedev’s li thographed books highlighted many artists’ textural-plastic experiments. During this period, prints were created at the Arts’ Academy graphics workshop, the Committee for Popu larisation of Art Publications [КРКҺ1], and at Detgiz [State Publishing House for Children's Literature] under Lebedev’s supervision. Leningrad Lithography’s zenith is associated with the Exper imental Lithographic Workshop (EPM), founded in 1933, operated for almost sixty years until the mid-1990s. The prerequisites for its achievements were established in the 1920s. Although, the Mir iskusstva [World of Art] circle dis tinguished authored-printmaking as an independent artistic technique already at the dawn of the twentieth century. The creation of a Leningrad Lithography School occurred slowly, initially unconfidently, unnoticed, and was almost extinguished during the struggles against formalism. Then, it exploded onto the scene in 1938-39 with Samuil Alyansky’s arrival, and Nikolai Tyrsa's colour experiments. The Novem ber 1939 Moscow exhibition publicly announced the ‘birth’ of Leningrad Lithography. The year 1939 was noteworthy as it established Leningrad Lithography as a phenomenon. Yet, it was the year 1961 that affirmed the existence of a fully-fledged ‘School’, with a powerful, professional and creative collective,
artists and young followers, gathered around the pre-war students, and now post-war leaders (Boris Ermolaev, Anatoli Kaplan, Yuri Vasnetsov, and Aleksandr Vedernikov). Eric Estorick, a London-based gallery-owner recorded the existence of the School, without realising it, when he exhibited works by twenty-seven Leningrad Lithography artists in London and New York in 1961. The exhibitions received wide praise in the Western press {The London Times, Apollo, Connoisseur, and Studio magazines). Moreover, the lithographs were sub sequently acquired by the Derfner Judaica Museum + The Art Collection, the Museum of Modern Art [MoMA], the National Gallery, the Jane Voorhees Zimmerli Art Museum, museums in Oklahoma, Ohio, and Pennsylvania (USA), the Fitzwilliam Museum, and the Art Gallery of Aberdeen (UK), as well as the private collections of Lauren Bacall, Lessing Rosenwald (USA), and Lothar Boltz (GDR), among others. After the 1961 international triumphs, the Workshop did not rest on its laurels. In the 1960s and 1970s, new inspira tions and a new plastic vision emerged, as well as an un derstanding of the value of prints created from lithographic stones. Some artists worked briefly, while others remained their entire lives. Among the long-term lithographers were Aleksandr Agabekov, Viktor Valtsefer, and Viktor Viiner. Georgi Kovenchuk, Aleksandr Skolozubov, and Boris Vlasov visited occasionally to resolve specific creative tasks. Each artist introduced valuable contributions into the formation of a ‘contemporary style’. During the 1980s, several artistic generations were
working in the Workshop simultaneously. Some began before the war, Valentin Kurdov, Vera Matyukh, and Gerta Nemenova. Some artists arrived in the following decades, such Aleksandr Aga bekov and Viktor Viiner, as well as very young artists. There were also the novices, who were exploring through the tradi tions, plastic art tasks, characteristic to modernism's aesthet ics. Vadim Brodsky, Mikhail Karasik, Nikolai Klimushkin, Lyudmila Sergeeva and Vladimir Viderman were thinking with new categories, closer to post-modernism aesthetics, boldly employed minimalist stylistics, children's drawing techniques, folklori c lubok prints, metaphysics, and historical styles. Nonetheless, despite their 'revolutionary' approaches, they organically continued the elders' vector, experiment, exploration, innovation, new thinking. In the tumultuous perestroika years, with the collapse of the country, as well as the old systems for art support, and the transition to a mar ket economy, the artists worked hard to save the workshop. Organised by Vadim Brodsky, the N. A. Tyrsa Creative Asso ciation, named in honour of the colour-lithography pioneer, extended the Workshop’s life for a few more years, but did not avert its demise. As any great phenomenon, the Lenin grad Lithography School is now a historical milestone. Bayerische StaaîsbfcicChe'c |
| any_adam_object | 1 |
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| author | Kononichin, Nikolaj Jurʹevič 1959- |
| author_GND | (DE-588)1218570466 |
| author_facet | Kononichin, Nikolaj Jurʹevič 1959- |
| author_role | aut |
| author_sort | Kononichin, Nikolaj Jurʹevič 1959- |
| author_variant | n j k nj njk |
| building | Verbundindex |
| bvnumber | BV047473231 |
| ctrlnum | (OCoLC)1269394679 (DE-599)BVBBV047473231 |
| era | Geschichte 1920-2000 gnd |
| era_facet | Geschichte 1920-2000 |
| format | Book |
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| genre | (DE-588)4135467-9 Ausstellungskatalog Gosudarstvennyj muzej istorii Sankt-Peterburga 2021-2022 Sankt-Peterburg gnd-content (DE-588)4145395-5 Bildband gnd-content |
| genre_facet | Ausstellungskatalog Gosudarstvennyj muzej istorii Sankt-Peterburga 2021-2022 Sankt-Peterburg Bildband |
| geographic | Sankt Petersburg (DE-588)4267026-3 gnd |
| geographic_facet | Sankt Petersburg |
| id | DE-604.BV047473231 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T18:10:06Z |
| indexdate | 2024-12-05T11:06:05Z |
| institution | BVB |
| institution_GND | (DE-588)5124271-0 |
| isbn | 9785604627440 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032874855 |
| oclc_num | 1269394679 |
| open_access_boolean | |
| owner | DE-255 DE-12 |
| owner_facet | DE-255 DE-12 |
| physical | 359 Seiten |
| psigel | BSB_NED_20220201 |
| publishDate | 2021 |
| publishDateSearch | 2021 |
| publishDateSort | 2021 |
| publisher | "NP-Print" |
| record_format | marc |
| spelling | 880-01 Kononichin, Nikolaj Jurʹevič 1959- Verfasser (DE-588)1218570466 aut 880-02 Leningradskaja škola litografii putʹ dlinoju vek = The Leningrad lithography school Nikolaj Kononichin The Leningrad lithography school 880-03 Sankt-Peterburg "NP-Print" 2021 359 Seiten txt rdacontent sti rdacontent n rdamedia nc rdacarrier Text russisch, Zusammenfassung englisch Kyrillisch Geschichte 1920-2000 gnd rswk-swf Künstlerschule (DE-588)4213733-0 gnd rswk-swf Lithografie (DE-588)4036042-8 gnd rswk-swf Sankt Petersburg (DE-588)4267026-3 gnd rswk-swf (DE-588)4135467-9 Ausstellungskatalog Gosudarstvennyj muzej istorii Sankt-Peterburga 2021-2022 Sankt-Peterburg gnd-content (DE-588)4145395-5 Bildband gnd-content Sankt Petersburg (DE-588)4267026-3 g Künstlerschule (DE-588)4213733-0 s Lithografie (DE-588)4036042-8 s Geschichte 1920-2000 z DE-604 Gosudarstvennyj muzej istorii Sankt-Peterburga (DE-588)5124271-0 his Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032874855&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032874855&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract 100-01/(N Кононихин, Николай Юрьевич ut 245-02/(N Ленинградская школа литографии путь длиною век Николай Кононихин 264-03/(N Санкт-Петербург "НП-Принт" 2021 |
| spellingShingle | Kononichin, Nikolaj Jurʹevič 1959- Leningradskaja škola litografii putʹ dlinoju vek = The Leningrad lithography school Künstlerschule (DE-588)4213733-0 gnd Lithografie (DE-588)4036042-8 gnd |
| subject_GND | (DE-588)4213733-0 (DE-588)4036042-8 (DE-588)4267026-3 (DE-588)4135467-9 (DE-588)4145395-5 |
| title | Leningradskaja škola litografii putʹ dlinoju vek = The Leningrad lithography school |
| title_alt | The Leningrad lithography school |
| title_auth | Leningradskaja škola litografii putʹ dlinoju vek = The Leningrad lithography school |
| title_exact_search | Leningradskaja škola litografii putʹ dlinoju vek = The Leningrad lithography school |
| title_exact_search_txtP | Leningradskaja škola litografii putʹ dlinoju vek = The Leningrad lithography school |
| title_full | Leningradskaja škola litografii putʹ dlinoju vek = The Leningrad lithography school Nikolaj Kononichin |
| title_fullStr | Leningradskaja škola litografii putʹ dlinoju vek = The Leningrad lithography school Nikolaj Kononichin |
| title_full_unstemmed | Leningradskaja škola litografii putʹ dlinoju vek = The Leningrad lithography school Nikolaj Kononichin |
| title_short | Leningradskaja škola litografii |
| title_sort | leningradskaja skola litografii putʹ dlinoju vek the leningrad lithography school |
| title_sub | putʹ dlinoju vek = The Leningrad lithography school |
| topic | Künstlerschule (DE-588)4213733-0 gnd Lithografie (DE-588)4036042-8 gnd |
| topic_facet | Künstlerschule Lithografie Sankt Petersburg Ausstellungskatalog Gosudarstvennyj muzej istorii Sankt-Peterburga 2021-2022 Sankt-Peterburg Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032874855&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032874855&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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