Item #1696 [MODERNIST ART] Novi techii v maliarstvi [i.e. New Art Movements]. R. Kutepiv.
[MODERNIST ART] Novi techii v maliarstvi [i.e. New Art Movements]
[MODERNIST ART] Novi techii v maliarstvi [i.e. New Art Movements]
[MODERNIST ART] Novi techii v maliarstvi [i.e. New Art Movements]
[MODERNIST ART] Novi techii v maliarstvi [i.e. New Art Movements]
[MODERNIST ART] Novi techii v maliarstvi [i.e. New Art Movements]
[MODERNIST ART] Novi techii v maliarstvi [i.e. New Art Movements]
[MODERNIST ART] Novi techii v maliarstvi [i.e. New Art Movements]

[MODERNIST ART] Novi techii v maliarstvi [i.e. New Art Movements]

Item #1696

Kharkiv: Literatura i mystetstvo, 1931. XXXII, 202, [1] pp.: ill. 24,5x17 cm. In contemporary binding with title glued to spine, with original illustrated front wrapper preserved. Blank fragment of title page cut out, pale foxing on t.p., some soiling on front wrapper, few stains, binding rubbed. Otherwise very good.

One of 3000 copies produced. Rare. Soviet Ukrainian university textbook on contemporary art movements of the late 19th – early 20th centuries. Overviewing earlier attempts to systemize modernist art, Kutepiv offers the new one: 1) styles mirroring psychology of industrial bourgeoisie: Impressionism, Cézannism, Cubism, Purism, Constructivism; 2)styles mirroring psychology of petty bourgeoisie and anarchobohemian declassed groups: Expressionism, Dadaism, Surrealism; 3)styles mirroring an intermediate mixed bourgeois psychology: Futurism and Neoclassicism.

About 80 black-and-white reproductions are published supplementing author’s texts on 12 art movements and West revolutionary art separately. Kutepiv mentions Russian futurists (in art, literature, music) and cites their works yet illustrates chapter with a painting by Italian futurist G. Balla. In a chapter dedicated to Suprematism, he referred to Malevich’s articles published in the magazine ‘Nova heneratsia’ [New Generation] and his book ‘From Cubism and Futurism to Suprematism’ (1915). A chapter on Purism shows art by Amédée Ozenfant and Fernand Léger. Expressionism was represented by Max Pechstein, Wilhelm Morgner, Ludwig Meidner, Paul Klee and Wassily Kandinsky. Among others, works of Pablo Picasso were reproduced in chapters “Surrealism” and “Neoclassicism”. A chapter on constructivism opens with a full-page picture of the Moscow OBMOKHU exhibition of 1922.
Kutepiv evaluates West revolutionary art, starting with an anti-religious work by Gustave Courbet as an artist of the Paris Commune. Most of all, he appreciated art by Mexican artist Diego Rivera whose works were considered finest examples of contemporary revolutionary monumental painting. The text is illustrated with reproductions of works by Théophile Steinlen, Käthe Kollwitz, Frans Masereel, George Grosz and Diego Rivera.

In all, a socialist insight into modernist art movements.

The only copy is located in Princeton University.

Price: $1,250.00

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