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It is within this context that we are pleased to organize another historic exhibition of Russian art. Amazons of the Avant-Garde is a model of scholarship and curatorial acumen. It brings together distinguished masterpieces of the period, including many not shown in the West since they were created. This is the first traveling exhibition organized for the Deutsche Guggenheim Berlin. Curators John E.

Bowlt, Matthew Drutt, and Zelfira Tregulova deftly organized this project, and I am grateful to them for their cooperation and hard work. We are indebted to the lenders to this exhibition, not only because they allowed us to borrow their treasured works, but because they have made important contributions to the scholarship of this publication.

Finally, I am deeply grateful to Dr.

http://www.pominki-nn.ru/components/lybisopab/holam-numerologiya-kak-samomu.php

Amazons of the Avant-Garde - Alexandra Exter

Breuer, Spokesman of the Board of Managing Directors of Deutsche Bank, for his ongoing support of the collaboration between our institutions. Amazons of the Avant-Garde is modest in scale yet ambitious in scope.

It marks a departure from previous endeavors that have taken a broad view of the Russian avant-garde, mapping the breadth of its interdisciplinary activities through an encyclopedic array of artists. Despite its tight focus, Amazons of the Avant-Garde has been a challenging undertaking. Some five years of planning and research have brought together more than seventy carefully selected paintings and drawings from international public and private collections.

Amazons of The Avant-Garde | Exhibition | ArtFacts

Many of the works have been lent by Russian institutions, some appearing in the West for the first time since the early twentieth century. The narrower path charted by this exhibition is not taken at the expense of the complexity of the art or its milieu. Rather, it allows that complexity to fall under close examination.

The present publication is more than a catalogue; it is a collection of interpretive essays and primary documents that delves deeply into its subject and offers a range of viewpoints. New research has concentrated directly on the paintings and drawings. However, after extensive investigation in Russian archives, and with the assistance of colleagues at the different lending institutions, more precise titles and dates have been assigned to several key works. In cases where questions remain, we have retained the currently accepted information and follow it with a newer suggestion in brackets.

This invaluable documentation, along with a careful scrutiny of provenance and exhibition history for each work, has been assembled with the assistance of scholars Faina Balakhovskaia, Liudmila Bobrovskaia, Nina Gurianova, Alexander Lavrentiev, Alla Lukanova, and Tatiana Mikhienko. The first section of the book consists of six essays on a range of subjects. In some cases, these contributions depart from the subject at hand, offering historical background and insight into topics inspired by this enterprise that make the book an extension of the exhibition rather than merely its companion.

How and why such a great number of women artists became so prominent during a relatively confined period are questions that recur throughout this volume. Through an investigation of art criticism, artistic practice, and the art market in early twentieth-century Russia, John E.

From female nudes to the Ballet Russe: Natalia Goncharova, the avant-garde rebel painter

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