[SOVIET CITY DEMONSTRATIONS AT ITS BEST] Oformlenie goroda v dni revolutsionnykh prazdnenst [i.e. The Decoration of the City During Revolutionary Celebrations]. A. Kuznetsova, U., Schukin, A., Magidoon.
[SOVIET CITY DEMONSTRATIONS AT ITS BEST] Oformlenie goroda v dni revolutsionnykh prazdnenst [i.e. The Decoration of the City During Revolutionary Celebrations]
[SOVIET CITY DEMONSTRATIONS AT ITS BEST] Oformlenie goroda v dni revolutsionnykh prazdnenst [i.e. The Decoration of the City During Revolutionary Celebrations]
[SOVIET CITY DEMONSTRATIONS AT ITS BEST] Oformlenie goroda v dni revolutsionnykh prazdnenst [i.e. The Decoration of the City During Revolutionary Celebrations]
[SOVIET CITY DEMONSTRATIONS AT ITS BEST] Oformlenie goroda v dni revolutsionnykh prazdnenst [i.e. The Decoration of the City During Revolutionary Celebrations]

[SOVIET CITY DEMONSTRATIONS AT ITS BEST] Oformlenie goroda v dni revolutsionnykh prazdnenst [i.e. The Decoration of the City During Revolutionary Celebrations]

Item #764

Moscow; Leningrad: IZOGIZ, 1932. 140 pp.: ills. 27x15 cm. Original illustrated wrapper. Very good condition, spine is restored with fragments lacking.

First edition. Illustrated throughout.
Kuznetsova and Magidoon are responsible for the design of the book, as well as the design of many decorations for street celebrations, represented in this book. Schukin has written a several works on the matter.
At first festivities dedicated to revolution reminded of military parades with demonstration of war trophies and fight scenes. Right until the middle of the 1920s demonstrations were based on work of amateurs with little help from artists. This became a unique field of experiments where different types of art like architecture, theatre, painting, pantomime, sculpture united. This gave a push to development of new art ways as well as lead to a next level of mass holidays. By the end of the 1920s the balance of the «art of a new social formation» was shifting from folk festivals and amateur performances to monumental and professional art. Handmade masks were switched to large scale installations and objects accompanied by light and sound effects. Before designers of these festivals stood up complex tasks which eventually revealed the possibilities of bold creative experiments. Unusual were the scale of the work itself, when whole cities and big crowds of protesters were drawn up, when the works of artists were perceived not in the closed premises of museum or exhibition halls but in open spaces of squares and streets. The rapid manifestation of the creative initiative of the masses, when almost every factory or factory created artistic circles, also found its most vivid embodiment in the design of revolutionary festivities. What is even more important artists’ decorations for mass revolutionary festivals laid ground for constructivism. Artists like Vesnin brothers designed many decorations for parades and other festivities. Overall, an amazing source of materials on history of Early Soviet Union and people’s lives and a glimpse into this unique decade.

Worldcat locates copies at Princeton, Stanford, MOMA, CCA, Getty and Harvard.

Price: $2,750.00