A majority of the Russian and Soviet nonconformist holdings are works on paper 16, An important group of maps show the historical growth and changes of national and internal borders. A significant collection of nineteenth-century lubki , the popular folk prints of Russia, reflects the moral, religious, literary, and other social concerns and interests of the Russian people.
An important focus of the Imperial and early Soviet periods is theater, opera, and ballet stage set and costume designs by major Russian artists of the early and mid-twentieth century. Constructivist stage sets include those by Alexandra Exter; surrealist-inspired designs by Pavel Tchelitchew and Eugene Berman also stand out. A large group of propaganda posters and broadsides by leading artists such as Dmitri Moor and Viktor Demi extend from the pre- to post-revolutionary periods.
Postwar nonconformist works on paper are wide-ranging, with individual artists often represented by full series and portfolios of prints and drawings.
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Important albums by Ilya Kabakov, Viktor Pivovarov, and the group Medical Hermeneutics are represented in their entirety. The collection also contains major works from the s and s by avant-garde masters Aleksander Rodchenko and Arkadii Shaikhet. Artist-designed books and book covers are well represented within the collection, including a number of important works by such artists as Kazimir Malevich and El Lissitsky.
Noteworthy Russian and Soviet decorative art objects held by the Zimmerli are hand-painted ceramic plates from the early Soviet era, with imagery ranging from Suprematist abstraction to Communist propaganda.
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Rutgers Home. Zimmerli Art Museum. Paintings Russian Orthodox icons introduce viewers to ancient Russian art. Sculpture The Imperial era is represented by an important bronze sculpture ca. Works on Paper A majority of the Russian and Soviet nonconformist holdings are works on paper 16, Decorative Arts Noteworthy Russian and Soviet decorative art objects held by the Zimmerli are hand-painted ceramic plates from the early Soviet era, with imagery ranging from Suprematist abstraction to Communist propaganda. A free-standing chamber contains projected arrest cards of the purged — including many artists, directors and writers — underscoring the sense of dashed dreams.
Ultimately, the exhibition provides a multifaceted, if somewhat overwhelming, portrayal of the Utopian bid to fashion a red planet as specifically depicted in a painting on display by Konstantin Yuon. The exhibition offers a well-chosen sample of paintings that serves as an excellent primer to the assorted styles of the era by familiar and lesser-known artists.
The show confirms the substance of American modern painting before abstract expressionism , although a fearsome image by the emergent Jackson Pollock feels like an outlier.
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It might just as well have been made in the s. Edward Hopper whose Gas, also eerily timeless rather than timely, is on display and Charles Burchfield had long been exploring such peculiarities of American vernacular idioms. This ghoulish vision of desperation shows the weary contestants of the dehumanising competition of the Depression in distorted expressionist forms.
It is not strictly fair to compare this smaller US exhibition of paintings with the gigantic, multimedia Soviet show.
Get real: why socialist realist painting deserves another look — The Calvert Journal
A juxtaposition of the two exhibitions could invite the conclusion that in the s American individualism contrasted with the Soviet mass mind — and such an outlook could easily be countered. But the similarity with which the machine age is idealised in America and Russia is notable — representations of their respective factories and workers are often analogous, though the Russians betrayed a masochistic tendency to fetishise labour. There is also synergy in the largely unofficial dialogue between American and Russian cultural figures in the s. Americans looked at Russians looking at America with fascination.
And so the recent scandalous communications mark only the latest addition to an intricate, confusing tapestry of exchanges evincing curiosity, emulation, suspicion and conspiracy. At the Royal Academy shaping up as a leading venue for historically themed exhibitions of revolutionary art , the silent conversations between these American and Russian neighbours tell stories of world-changing narratives in more similar ways than one might imagine.
UEA Inaugural lecture: Alternative performance measures: do managers disclose them to inform us, or to mislead us? Screen music and the question of originality - Miguel Mera — London, Islington.
Get real: why socialist realist painting deserves another look
Edition: Available editions United Kingdom. Charles Sheeler, American Landscape, Barnaby Haran , University of Hull. Thomas Hart Benton, Cotton Pickers, Revolution: Russian Art The Russian art show is a fittingly giant exhibition that amasses a welter of early Soviet visual culture, from paintings to porcelain, photographs, films, and even a full-size recreation of an apartment designed by El Lissitzky, a leading avant-garde polymath who worked in numerous media.