SOVIET ADVERTISING POSTER 1917-1932
DAS SOWJETISCHE REKLAMEPLAKAT
V. Lyakhov

V. Lyakhov: SOVIET ADVERTISING POSTER 1917-1932 [DAS SOWJETISCHE REKLAMEPLAKAT]. Moscow: 1972. First Edition. Text in Russian, English and German. A very good hardcover book with white paper boards w/ green, black and red illustration on cover. Interior unmarked and very clean. Out-of-print and very uncommon.

10.5 x 8.25 hardcover book with 128 pages profusely illustrated in b/w and color with biographies of artists at the end. Many unusual examples film and political posters, advertisements and other printed ephemra. A magnificent production from Mother Russia in terms of design, content and printing: my highest recommendation.

Includes work by Akimov, Bulanov, Bershadsky, Borisov, Gan, Deineka, Zhukov, Kravchenko, Kustodiev, Lavinsky, Lebedev, Levin, Lissitzky, Mayakovsky, Moor, Naumov, Pakhomov, Prusakov, Radlov, Rodchenko, Ruklevsky, the Stenberg bros., Stepanova, Telingater, Troshin, Khodasevich, Cheremnykh and Chekhonin.

In a country where illiteracy was endemic, film played a critical role in the conversion of the masses to the new social order. Graphic design, particularly as applied in the political placard, was a highly useful instrument for agitation, as it was both direct and economical. The symbiotic relationship of the cinema and the graphic arts would result in a revolutionary new art form: the film poster.

Includes many examples by The Stenberg brothers who produced a large body of work in a multiplicity of mediums, initially achieving renown as Constructivist sculptors and later working as successful theatrical designers, architects, and draftsmen; in addition, they completed design commissions that ranged from railway cars to women's shoes. Their most significant accomplishment, however, was in the field of graphic design, specifically, the advertising posters they created for the newly burgeoning cinema in Soviet Russia.

The film posters of the Stenberg bothers, produced from 1923 until Georgii's untimely death in 1933, represent an uncommon synthesis of the philosophical, formal, and theoretical elements of what has become known as the Russian avant-garde. These posters, radical even from current perspectives, are not the consequence of some brief flame of eccentric artistic creativity, but rather a consolidation of the Stenbergs' own eclectic experience‹possible only in this era‹and the formal artistic inventions of the time. Their intimate knowledge of contemporary film theory, Suprematist painting, Constructivism, and avant-garde theater, as well as their skill in the graphic arts, was essential to the genesis of these works.

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