ID: 55851
Aleksander Rodchenko - Cogged wheels - fotolitho
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Description
Fotolitho naar het gelijknamige werk van Aleksander Rodchenko afkomstig uit het limited edition portfolio uitgegeven door Scala Group. De originele foto bevindt zich in de privécollectie van een Italiaanse kunstverzamelaar.
Kunstenaar - Aleksander Mikhailovich Rodchenko (Rusland, 1891-1956)
Titel - Cogged wheels
Jaartal - 2011
Afmetingen - 53,5 cm x 41,5 cm
Techniek - fotolitho op papier naar de gelijknamige foto uit 1929
Uitgave - exclusief uitgegeven door Scala Group S.p.A. naar de originele foto uit een privécollectie
Passe-partout - kan desgewenst geleverd worden in een passe-partout van museumkwaliteit
Conditie - in zeer goede staat
Aleksander Mikhailovich Rodchenko (St. Petersburg, 1891 - Moscow, 1956) was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design. Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles - usually high above or down below - to shock the viewer and to postpone recognition. He wrote: \"One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again.\"
In 1910, Rodchenko began studies under Nicolai Fechin and Georgii Medvedev at the Kazan Art School, where he met Varvara Stepanova, whom he later married. After 1914, he continued his artistic training at the Stroganov Institute in Moscow, where he created his first abstract drawings, influenced by the Suprematism of Kazimir Malevich, in 1915. The following year, he participated in \'The Store\' exhibition organized by Vladimir Tatlin, who was another formative influence. Rodchenko\'s work was heavily influenced by Cubism and Futurism, as well as by Malevich\'s Suprematist compositions, which featured geometric forms deployed against a white background. While Rodchenko was a student of Tatlins he was also his assistant, and the interest in figuration that characterized Rodchenko\'s early work disappeared as he experimented with the elements of design. He utilized a compass and ruler in creating his paintings, with the goal of eliminating expressive brushwork. Rodchenko was appointed Director of the Museum Bureau and Purchasing Fund by the Bolshevik Government in 1920, responsible for the reorganization of art schools and museums. He became secretary of the Moscow Artists\' Union and set up the Fine Arts Division of the People\'s Commissariat for Education, and helped found the Institute for Artistic Culture.
In 1921, Rodchenko executed what were arguably some of the first true monochromes (artworks of one color). These paintings were first displayed in the 5x5=25 exhibition in Moscow. For artists of the Russian Revolution, Rodchenko\'s radical action was full of utopian possibility. It marked the end of easel painting - perhaps even the end of art - along with the end of bourgeois norms and practices. It cleared the way for the beginning of a new Russian life, a new mode of production, a new culture. Rodchenko later proclaimed, \"I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: it\'s all over.\" In 1921 he also became a member of the Productivist group, with Stepanova and Aleksei Gan, which advocated the incorporation of art into everyday life. He gave up painting in order to concentrate on graphic design for posters, books, and films. He was deeply influenced by the ideas and practice of the filmmaker Dziga Vertov, with whom he worked intensively in 1922. Much of the work of 20th century graphic designers is a direct result of Rodchenko\'s earlier work in the field. His influence has been pervasive. Impressed by the photomontage of the German Dadaists, Rodchenko began his own experiments in the medium, first employing found images in 1923, and from 1924 on, shooting his own photographs as well. His first published photomontage illustrated Mayakovsky\'s poem, \'About This\', in 1923. In 1924, Rodchenko produced what is likely his most famous poster, an advertisement for the Lengiz Publishing House sometimes titled \'Books\', which features a young woman with a cupped hand shouting \"Books in all branches of knowledge.\"
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Heeft u wellicht nog vragen of wilt u advies? Neem voor meer informatie gerust even contact op.
Bent u geïnteresseerd in andere kunstwerken? Kijk dan eens bij [ robART ] voor meer aanbiedingen door te klikken op [ bekijk alle advertenties ]. We bieden momenteel kunstwerken aan van meer dan 250 verschillende kunstenaars, die een breed scala aan kunststromingen vertegenwoordigen.
Vanwege een aanstaande verhuizing worden veel items aangeboden met extra korting!
Bij sommige aangeboden werken zit er meer rek in de prijs dan bij andere, maar biedingen lager dan 75% van de vraagprijs zullen doorgaans niet in behandeling worden genomen. We zijn primair kunstverzamelaars en hebben van ieder kunstwerk slechts één exemplaar, dus op is op!
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
ALGEMENE VOORWAARDEN
Verzending
Items worden zeer zorgvuldig en stevig verpakt. De verzendkosten bedragen de pakketkosten van PostNL, waarbij u zelf kunt kiezen uit de beschikbare pakketten. Bij aankoop van meerdere items zal de verzending gecombineerd worden. Het is vanzelfsprekend ook mogelijk om uw aankoop
(op afspraak) persoonlijk ter plekke op te halen.
Authenticiteit
Alle aangeboden werken zijn aangekocht op officiële kunstveilingen of rechtstreeks bij de betreffende kunstenaar. Het zijn dus allemaal originele en veilingwaardige kunstwerken, waarbij de nadruk ligt op grafiek en fotografie. Offset prints worden alleen aangeboden als het originele affiches, limited edition of vintage prints betreft.
Conditie
De conditie van het betreffende item staat in iedere advertentie omschreven. Aangezien sommige items vele tientallen en soms zelfs honderden jaren oud zijn, kunnen deze vanzelfsprekend ook enige leeftijd gerelateerde ouderdomssporen bevatten. Alle aangeboden werken liggen momenteel veilig opgeslagen in het depot. Wat betreft de advertentiefoto\'s kunnen er om technische redenen lichte kleurverschillen bestaan met het origineel.
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Kunstenaar - Aleksander Mikhailovich Rodchenko (Rusland, 1891-1956)
Titel - Cogged wheels
Jaartal - 2011
Afmetingen - 53,5 cm x 41,5 cm
Techniek - fotolitho op papier naar de gelijknamige foto uit 1929
Uitgave - exclusief uitgegeven door Scala Group S.p.A. naar de originele foto uit een privécollectie
Passe-partout - kan desgewenst geleverd worden in een passe-partout van museumkwaliteit
Conditie - in zeer goede staat
Aleksander Mikhailovich Rodchenko (St. Petersburg, 1891 - Moscow, 1956) was a Russian artist, sculptor, photographer and graphic designer. He was one of the founders of constructivism and Russian design. Rodchenko was one of the most versatile Constructivist and Productivist artists to emerge after the Russian Revolution. He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles - usually high above or down below - to shock the viewer and to postpone recognition. He wrote: \"One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again.\"
In 1910, Rodchenko began studies under Nicolai Fechin and Georgii Medvedev at the Kazan Art School, where he met Varvara Stepanova, whom he later married. After 1914, he continued his artistic training at the Stroganov Institute in Moscow, where he created his first abstract drawings, influenced by the Suprematism of Kazimir Malevich, in 1915. The following year, he participated in \'The Store\' exhibition organized by Vladimir Tatlin, who was another formative influence. Rodchenko\'s work was heavily influenced by Cubism and Futurism, as well as by Malevich\'s Suprematist compositions, which featured geometric forms deployed against a white background. While Rodchenko was a student of Tatlins he was also his assistant, and the interest in figuration that characterized Rodchenko\'s early work disappeared as he experimented with the elements of design. He utilized a compass and ruler in creating his paintings, with the goal of eliminating expressive brushwork. Rodchenko was appointed Director of the Museum Bureau and Purchasing Fund by the Bolshevik Government in 1920, responsible for the reorganization of art schools and museums. He became secretary of the Moscow Artists\' Union and set up the Fine Arts Division of the People\'s Commissariat for Education, and helped found the Institute for Artistic Culture.
In 1921, Rodchenko executed what were arguably some of the first true monochromes (artworks of one color). These paintings were first displayed in the 5x5=25 exhibition in Moscow. For artists of the Russian Revolution, Rodchenko\'s radical action was full of utopian possibility. It marked the end of easel painting - perhaps even the end of art - along with the end of bourgeois norms and practices. It cleared the way for the beginning of a new Russian life, a new mode of production, a new culture. Rodchenko later proclaimed, \"I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: it\'s all over.\" In 1921 he also became a member of the Productivist group, with Stepanova and Aleksei Gan, which advocated the incorporation of art into everyday life. He gave up painting in order to concentrate on graphic design for posters, books, and films. He was deeply influenced by the ideas and practice of the filmmaker Dziga Vertov, with whom he worked intensively in 1922. Much of the work of 20th century graphic designers is a direct result of Rodchenko\'s earlier work in the field. His influence has been pervasive. Impressed by the photomontage of the German Dadaists, Rodchenko began his own experiments in the medium, first employing found images in 1923, and from 1924 on, shooting his own photographs as well. His first published photomontage illustrated Mayakovsky\'s poem, \'About This\', in 1923. In 1924, Rodchenko produced what is likely his most famous poster, an advertisement for the Lengiz Publishing House sometimes titled \'Books\', which features a young woman with a cupped hand shouting \"Books in all branches of knowledge.\"
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Heeft u wellicht nog vragen of wilt u advies? Neem voor meer informatie gerust even contact op.
Bent u geïnteresseerd in andere kunstwerken? Kijk dan eens bij [ robART ] voor meer aanbiedingen door te klikken op [ bekijk alle advertenties ]. We bieden momenteel kunstwerken aan van meer dan 250 verschillende kunstenaars, die een breed scala aan kunststromingen vertegenwoordigen.
Vanwege een aanstaande verhuizing worden veel items aangeboden met extra korting!
Bij sommige aangeboden werken zit er meer rek in de prijs dan bij andere, maar biedingen lager dan 75% van de vraagprijs zullen doorgaans niet in behandeling worden genomen. We zijn primair kunstverzamelaars en hebben van ieder kunstwerk slechts één exemplaar, dus op is op!
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
ALGEMENE VOORWAARDEN
Verzending
Items worden zeer zorgvuldig en stevig verpakt. De verzendkosten bedragen de pakketkosten van PostNL, waarbij u zelf kunt kiezen uit de beschikbare pakketten. Bij aankoop van meerdere items zal de verzending gecombineerd worden. Het is vanzelfsprekend ook mogelijk om uw aankoop
(op afspraak) persoonlijk ter plekke op te halen.
Authenticiteit
Alle aangeboden werken zijn aangekocht op officiële kunstveilingen of rechtstreeks bij de betreffende kunstenaar. Het zijn dus allemaal originele en veilingwaardige kunstwerken, waarbij de nadruk ligt op grafiek en fotografie. Offset prints worden alleen aangeboden als het originele affiches, limited edition of vintage prints betreft.
Conditie
De conditie van het betreffende item staat in iedere advertentie omschreven. Aangezien sommige items vele tientallen en soms zelfs honderden jaren oud zijn, kunnen deze vanzelfsprekend ook enige leeftijd gerelateerde ouderdomssporen bevatten. Alle aangeboden werken liggen momenteel veilig opgeslagen in het depot. Wat betreft de advertentiefoto\'s kunnen er om technische redenen lichte kleurverschillen bestaan met het origineel.
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _