[Moscow, 1921]. 10 leaves. 28x24 cm. One of 25 copies produced. In the original two-colored folder. Light foxing on the front of the folder. Otherwise near fine. Each linocut is signed by the artist.
A great rarity of Russian avant-garde. We couldn’t locate this folder in any institutional or private collections, including Russian State and National Libraries.
Alexander Yakimchenko (1878-1929) was born in Nezhin, Ukraine, before the Revolution he was associated with the circle of artists ‘Mir Iskusstva’, studied different engraving techniques under Elizaveta Kruglikova. He designed the periodical ‘Vesy’ and together with Lansere brothers worked as a stage designer in the theatre of miniatures.
Up until 1920 he was using impressionist or realistic methods with a certain influence of symbolism, however after 1917 he has been heavily influenced by cubism and has created two series of works in a very distinctive manner, ‘City’ and ‘Labor’. Those two series are the only evidence of Yakimchenko being involved in the ‘new art’ as later he became the official designer of Goznak (a Soviet currency production agency) where he worked on designs of the first Soviet banknotes.
The series ‘City’ is created in the urban genre similar to Natalia Goncharova’s ‘Gorod’ (1920) picturing Paris and Irakli Gamrekeli ‘Sharavandedi’ (1923) picturing Tbilisi (both artists departed their cities in the moment of artistic transformation). And if with Gamrekeli and Goncharova the images of the city created for those books were in tune with the general development of their artistic language, for Yakimchenko these linocuts were quite different from his usual work. Because of that we can see a development of the new style. While being convinced by the approach of the new reality with its factories and the industry, Yakimchenko keeps the lyricism of his earlier tradition.
No copies in Worldcat.