[NEW SOVIET STYLE] Novyi stil’ [i.e. New Style]. I. Ioffe.
[NEW SOVIET STYLE] Novyi stil’ [i.e. New Style]

[NEW SOVIET STYLE] Novyi stil’ [i.e. New Style]

Moscow; Leningrad: Izogiz, 1932. Item #1107

156, [4] pp.: ill. 17,5x13 cm. In original printed wrappers. Very good, rubbed, tiny fragments of covers lost, partly restoration of spine and front cover.
First and only edition. One of 3000 copies. Rare.
Jeremiah Ioffe (1891-1947), Soviet art historian and critic, belonged to a bright intellectual era in Soviet history. He was working alongside with K. Malevich, N. Punin, Y. Tynyanov and others. He witnessed the end of such phenomenons as Russian avant-garde and formalism and repression of huge layers of Russian cultural field. He was one of the significant art theoreticians of his time, and his works of the 1920s-30s stand competition with western works of that period. His legacy was practically banned after his death.
In this monograph Ioffe tried to analyze the current state of culture, style and new art methods, two subjects that were particularly interesting for Soviet scientists in the end of 1920s. The focus of the book is on a new Soviet style, and author uses IZORAM works to explain his points of view.
IZORAM (Art Workshops of Proletariat Youth) existed in Leningrad from 1928 to 1931. This coalition included nearly 80 amateur art groups. The ideologist and the official head of the movement, which envisioned the search for a new realism and the creation of the ‘‘art of the workers’’ - M. S. Brodsky. Based on a purely practical understanding of the tasks of the new art, in Isoram, the experience of classical art education was opposed by amateur activity, focusing on the creation of posters and photo monatges; registration of club, industrial and urban sites, the design of furniture, clothing. In spite of the sharp dissociation from “every kind of aestheticism and formalism” (the Isoram Declaration, 1930), art critics of that time (including Ioffe), along with their proximity to primitivism, also noted the influence of the European school of purism. “Izoram was closely associated with the left vanguard. Suprematists and students of Kazimir Malevich E. Krimmer, K. Rozhdestvensky, I. Chashnik, L. Yudin took part in the group’s activities. Belonging to the Left circle, this group was focused not so much on Fauvism, Expressionism and Cubism, <...>, as on the painting of purists” (Savitsky).

Worldcat locates paper copies at Getty, Princeton, Columbia, Stanford, Harvard libraries.

Status: On Hold
See all items in Art, Avant-garde, Constructivism
See all items by