书名：Revolution: Russian Art 1917–1932

作者：John Milner, Natalia Murray

ISBN：9781910350430

出版社：Royal Academy of Arts

出版日期：2017.2.23

尺寸：25.15 x 3.56 x 30.48 cm

装帧：精装

页码：320

图幅数：350

作者简介：

John Milner 是剑桥考陶德俄罗斯艺术中心的前联合主任。Natalia Murray 是考陶德艺术学院的客座讲师。其他贡献者包括：Faina Balakhovskaya、John Bowlt、Masha Chlenova、Ian Christie、Christina Lodder、Nicoletta Misler、Natalia Murray、Nick Murray、Evgenia Petrova、Zelfira Tregulova。

内容简介：

该卷以1932年在列宁格勒国家俄罗斯博物馆展出的非凡展览为基础——这将是俄罗斯先锋艺术的天鹅之歌——探索了1917年至1932年间15年的革命时期，当时可能性似乎无限，俄罗斯艺术在每种媒体上蓬勃发展。Revolution出版是为了配合伦敦皇家艺术学院的大型展览（第一个试图调查革命后俄罗斯整个艺术景观的展览），它探索了俄罗斯革命后几年的绘画、雕塑、摄影、电影、海报艺术和产品设计。编辑推荐：

"Review

By juxtaposing a huge number of works (from an impressively wide range of media), which express both approaches, the exhibition provides an intriguing and rare insight into the dialogue between art and politics, the individual and the state, freedom of expression and the pull of ideology. (Francesca Wade Studio International)

a fascinating interrogation of the relationship between art and politics, and a serious indictment of the dangers of disrupting the balance. (Francesca Wade Studio International)

The exhibition features Avant-Garde artists such as Chagall, Kandinsky, Malevich and Tatlin alongside the Socialist Realism of Brodsky, Deineka, Mukhina and Samokhvalov, amongst others. It presents this unique period in the history of Russian art, when for fifteen years, barriers were opened and the possibilities for building a new proletarian art for the new Soviet State were extensive. (Artfix Daily)

So much of the art on display is not just beautiful, but essential….What you’re watching unfold across these walls is more than just art, it’s the death of hope. The revolution started with a belief in the power of change and excitement for the future. That was slowly crushed under the weight of civil war, famine and oppression. This, right here, is art losing its beauty and becoming a tool of the state. (Eddy Frankel Time Out London)

This is a hugely ambitious show with loans obtained from Russia that you will never have seen and many that you will not see again. (Karen Wright The Independent)

Incorporating painting, sculpture, architecture, filmmaking, ceramics and popular ephemera, it offers a highly informative, brilliantly comprehensive, and cautionary case study of how art and politics can interact in an age of increasingly authoritarian rule. (Mary Tompkins Lewis The Wall Street Journal)

groundbreaking ...explores the deeply political contexts that shaped Russian art of every aesthetic stripe in the rapidly changing period between the rise of the Bolsheviks at the Russian Revolution’s outset and Joseph Stalin’s brutal crackdown of 1932. (Mary Tompkins Lewis The Wall Street Journal)

But this is no display of communist propaganda. What makes Revolution such a momentous, even historic exhibition is that it brings together all of the art from that period. Not just the Soviet dross – socialist realist utopias, hymns to mechanisation and films of peasants waiting gratefully for the arrival of the first steam train – but the art of the avant garde too. It is the first time we have been able to see the art of the Revolution whole. (Laura Cumming The Guardian)

This encapsulates a certain period in Russia that you just don’t get from textbooks. There’s nothing more powerful than the artist painting what’s going on in the world around him and the fact that artists are seen to be as powerful as soldiers, with their paintbrush using a visual type of propaganda, especially when most of the population were illiterate. It’s through the visual arts that a message is passed. (Estelle Lovat Euronews)

The standard Western view of post-revolution Russian art is binary: the bold abstraction of the suprematists and constructivists of the early years (good) versus the leaden figuration of Stalinist socialist realism (bad). But this show explores the nuances and complexities between them, as artists competed aggressively to emblematise the brave new Soviet world. (Ben Luke The Evening Standard)"

内容推荐：

"One hundred years after the Russian Revolution, this comprehensive survey explores all aspects of its groundbreaking art

One hundred years after the Russian Revolution, Revolution: Russian Art, 1917–1932 explores one of the most momentous periods in modern world history through its groundbreaking art. The October Revolution of 1917 ended centuries of Tsarist rule and left artists such as Malevich, Tatlin, Popova and Rodchenko urgently debating what form a new “people’s art” would take.

Painting and sculpture were redefined by Kandinsky’s boldly innovative compositions, Malevich’s dynamic abstractions and the Constructivists’ attempts to transform art into technical engineering. Photography, architecture, film and graphic design also experienced revolutionary changes. These debates were definitively settled in 1932, when Stalin began to suppress the avant-garde in favor of Socialist Realism―collective in production, public in manifestation and Communist in ideology.

Based around a remarkable exhibition shown in Leningrad’s State Russian Museum in 1932―which was to be the swansong of avant-garde art in Russia―this volume explores that revolutionary 15-year period between 1917 and 1932 when possibilities seemed limitless and Russian art flourished across every medium. Published to accompany a major exhibition at the Royal Academy of Arts, London (the first to attempt to survey the entire artistic landscape of post-Revolutionary Russia), Revolution explores the painting, sculpture, photography, film, poster art and product design of the years after the Russian Revolution.

Including contributions from some of the most prominent scholars in the field (John Milner, Natalia Murray, Nick Murray, Masha Chlenova, Ian Christie, John E. Bowlt, Nicoletta Misler, Zelfira Tregulova, Faina Balakhovskaya, Evgenia Petrova and Christina Lodder), Revolution is a timely and authoritative exploration of both the idealistic aspirations and the harsh realities of the Russian Revolution and its aftermath."