{"id":2346,"date":"2021-02-18T20:43:30","date_gmt":"2021-02-18T19:43:30","guid":{"rendered":"http:\/\/www.irsa.com.pl\/?p=2346"},"modified":"2024-07-15T10:47:48","modified_gmt":"2024-07-15T08:47:48","slug":"andrei-nakov-tatlins-reliefs-from-cubism-to-abstraction","status":"publish","type":"post","link":"https:\/\/www.irsa.com.pl\/index.php\/2021\/02\/18\/andrei-nakov-tatlins-reliefs-from-cubism-to-abstraction\/","title":{"rendered":"Andr\u00e9i Nakov<\/br> <I>Tatlin\u2019s Reliefs: from Cubism to Abstraction<\/I>"},"content":{"rendered":"\n<ul><li>Cracow 2020<\/li><li>257 x 200 mm, 372 pages<\/li><li>laminated hardback, 219 colour illustrations<\/li><li>ISBN 978-83-89831-37-8<\/li><\/ul>\n\n\n\n<h4>\u00c9galement disponible en version fran\u00e7aise&nbsp;<em>Les reliefs de Tatline : du cubisme \u00e0 l\u2019abstraction<\/em><\/h4>\n\n\n\n<p>The creation of the first Non-Objective reliefs by Vladimir Tatlin in the years 1914\u20131915 has remained almost legendary, as, with a few exceptions, these works have been lost or destroyed. This is the reason most of them have come down to us solely through contemporary documents. Yet when first presented in Moscow, St Petersburg (1914 and 1915), Berlin (1922) and Amsterdam (1923), they were received with curiosity, interest and, in a few instances, rejection, for they signalled a real artistic revolution. They were subsequently overshadowed by the&nbsp;<em>Monument<\/em>&nbsp;<em>to the Third International&nbsp;<\/em>(1919\u20131920), an extraordinary utopian construction that Alfred Barr described in 1936 as \u201cthe most ambitious Constructivist work\u201d of the century and which has fascinated generations of artists on both sides of the Atlantic during much of the 20th century.<\/p>\n\n\n\n<p>This book discusses the history and significance of the first abstract reliefs and presents numerous hitherto unpublished documents and an interpretation that casts a new light on the history of modern art, both Russian (Malewicz, Popova, Exter and other artists) and Western (Boccioni or Brancusi). A special place is given to an examination of the Cubist sources (Picasso) that played a decisive role in the artist\u2019s bold creative leap. This study of the origins of abstract sculpture is an innovative exploration of a crucial moment in modern art: the passage from Cubism to Abstraction.<\/p>\n\n\n\n<p>The Slavic-born, French-educated art historian <strong>Andr\u00e9i Nakov<\/strong> has organized major museum exhibitions in the last five decades: Berlin (1977), London (1976 and 1984), Frankfurt (1987), Tokyo (1988), Madrid (1989), Ottawa (2016) and elsewhere. Since 1972, his substantial studies on Futurism, Dada, Constructivism and especially the beginnings of abstract art (Kandinsky, Larionov, Mondrian, Kupka and Freundlich among others) have been published in French, German, English, Italian, Russian and other languages. His publications on the work and writings of Kazimir Malewicz (Paris 1975 and 2003, Stockholm 2010), a four-volume monograph (in French in 2007, English translation in 2010) and a Catalogue raisonn\u00e9 (Paris 2002) are regarded as authoritative works on this artist. His works on Constructivism began in 1972 with a French edition of the writings of Nikolai Tarabukin and the first posthumous monograph devoted to Aleksandra Exter. They were followed by the exhibition catalogue <em>Tatlin\u2019s Dream<\/em> (London 1973), <em>2 Stenberg 2<\/em> (Paris\u2013London\u2013Toronto, 1975) and the exhibition catalogue <em>Dada and Constructivism<\/em> (Tokyo and Kamakura 1988, Madrid 1989). Several titles by Nakov have been translated and\/or reprinted.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" width=\"666\" height=\"666\" src=\"http:\/\/www.irsa.com.pl\/wp-content\/uploads\/2021\/02\/tatlin-eng2.png\" alt=\"\" class=\"wp-image-2383\" srcset=\"https:\/\/www.irsa.com.pl\/wp-content\/uploads\/2021\/02\/tatlin-eng2.png 666w, https:\/\/www.irsa.com.pl\/wp-content\/uploads\/2021\/02\/tatlin-eng2-300x300.png 300w, https:\/\/www.irsa.com.pl\/wp-content\/uploads\/2021\/02\/tatlin-eng2-150x150.png 150w\" sizes=\"(max-width: 666px) 100vw, 666px\" \/><\/figure><\/div>\n\n\n\n<p><\/p>\n\n\n\n<h4>CONTENTS<\/h4>\n\n\n\n<p><strong>I N T R O D U C T I O N<\/strong><br>THE ILLUMINATIONS OF MODERNITY<br>Prologue&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-left\"><strong>P A R T&nbsp; I<br><em>GRADUS AD PARNASSUM<\/em><\/strong><\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 1<\/strong><br>THE YEARS OF APPRENTICESHIP<br>Narcissistic wounds are not healed by the experience of the sea<br>Attending art schools<br>In Larionov\u2019s footsteps<br>A passion for the stage<br>A growth by conceptual leaps&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 2<\/strong><br>IN THE LABYRINTH OF MODERNITY<br>From \u201cPurism\u201d to Cubism<br>The Futurist catalyst<br>From the radicalness of the \u201cpicture plane\u201d to the end of the \u201cstatuary\u201d<br>The revolution of the analytical drawings<br>Liberating form from the constraints of mass&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 3<\/strong><br>THE PICASSO YEAR AND CUBIST COMPETITIVENESS<br>The significance of the Symbolist heritage: the role of the theoretician Vladimir Markov<br>The precursor\u2019s formalism of Tatlin\u2019s fellow traveller, Vladimir Burljuk<br>An excess of theorizing<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 4<\/strong><br>LIBERATING THE UNCONSCIOUS<br>Sculpture, painting\u2019s poor relative<br>Breaking through the confines of mass<br>The barrier of abstraction: the limits of Parisian Cubism&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 5<\/strong><br>BEYOND CUBISM<br>The mythical journey: Berlin and Paris<br>The visit to Picasso: a revelation and a confirmation<br>In the hub of modernism: strolling around Paris<\/p>\n\n\n\n<p class=\"has-text-align-left\"><strong>P A R T&nbsp; I I<br>THE ADVENT OF MATURITY<\/strong><\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 6<\/strong><br>THE REVOLUTION OF MATERIALS<br>Catharsis<br>The first wave of reliefs: May 1914 to March 1915<br>The first relief surfaces<br>Reference to presumable sources<br>An Apollonian dialogue with Cubism&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 7<\/strong><br>FROM COMPOSITION TO ASSEMBLAGE<br>From collage to assemblage<br>A rich poetic vein<br><em>Fant\u00f4mas<\/em>: a cinematographic digression&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 8<\/strong><br>A SALVO OF RELIEFS: THE FIRST EXHIBITIONS OF 1915<br>The&nbsp;<em>Year 1915&nbsp;<\/em>exhibition in Moscow<br>Tugendhold\u2019s moralizing criticismReplacing the whole with a part<br>The originality of relations between materials<br>A memory of the pastRetrospective excursus&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R 9<\/strong><br>THE CULMINATION OF AUTONOMOUS SCULPTURE<br>Visualizing poetry: Kamensky, Podgaevsky and other guerillas<br><em>Tramway V<\/em>: the Rubicon of Non-Objective art<br>The evolution of Tatlin\u2019s fellow combatants: Rozanova and Popova<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 1 0<\/strong><br>THE SHOCK OF NON-OBJECTIVE MODERNISM: THE&nbsp;<em>0,10&nbsp;<\/em>EXHIBITION<br>A difficult modernist birth: realizing the&nbsp;<em>0,10&nbsp;<\/em>project<br>How the corner relief evolvedThe dynamics of tension<br>The metaphysics of transparency<br>The first substantial comment on Tatlin\u2019s reliefs&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 1 1<\/strong><br>THE FAILURE OF THE&nbsp;<em>SHOP&nbsp;<\/em>EXHIBITION<br>An art exhibition can not be improvised<br>Conflict at the&nbsp;<em>Shop&nbsp;<\/em>exhibition<br>The Moscow rejection<br>Tugendhold\u2019s \u201cPicassian\u201d hindrance<br>The dead-end of Cubism: interpretation and assimilation<br>Enthusiasm of the post-Tatlin \u201creliefists\u201d<\/p>\n\n\n\n<p class=\"has-text-align-left\"><strong>P A R T&nbsp; I I I<br>ON THE CELESTIAL PATH:<br>COSMOGONY AND ARCHITECTURAL AUDACITY<\/strong>&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 1 2<\/strong><br>IN THE WAKE OF KHLEBNIKOV\u2019S COSMOGONY<br>The aftermath of \u201cStudio No. 5\u201d<br>An art derived from the reliefs&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 1 3<\/strong><br>THE FLOWERING OF RELIEFS IN 1917\u20131922<br>The success of Caf\u00e9 Pittoresque: the adoption of Tatlin by the Berlin Dadaists<br>The short-lived post-revolutionary Tatlin boom&nbsp;<\/p>\n\n\n\n<p><strong>C H A P T E R&nbsp; 1 4<\/strong><br>THE ARCHITECTONIC APOTHEOSIS OF RELIEFS:<br>THE \u201cTOWER\u201d OF 1919 (<em>MONUMENT TO THE THIRD INTERNATIONAL<\/em>)<br>The programme of the&nbsp;<em>Monument<\/em><br>The projectFunction becomes form<br>Beyond the revolutionary ideology:<br>Katarzyna Kobro and spatial assertions of Non-Objective art<br>A nostalgic postscript&nbsp;<\/p>\n\n\n\n<p><strong>A P P E N D I X&nbsp; I<\/strong><br>TATLIN\u2019S RELIEFS, ASSEMBLAGES AND PROJECTS FOR RELIEFS&nbsp;<\/p>\n\n\n\n<p><strong>A P P E N D I X\u00a0 I I<\/strong><br>NOTES REGARDING ATTRIBUTIONS<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Orders can be placed via email irsa@irsa.com.pl.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This book discusses the history and significance of the first abstract reliefs and presents numerous hitherto unpublished documents and an interpretation that casts a new light on the history of modern art, both Russian (Malewicz, Popova, Exter and other artists) and Western (Boccioni or Brancusi).<\/p>\n","protected":false},"author":3,"featured_media":2390,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ub_ctt_via":""},"categories":[32],"tags":[],"featured_image_src":"https:\/\/www.irsa.com.pl\/wp-content\/uploads\/2021\/02\/tatlin-eng.jpg","author_info":{"display_name":"Irsa","author_link":"https:\/\/www.irsa.com.pl\/index.php\/author\/irsa\/"},"_links":{"self":[{"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/posts\/2346"}],"collection":[{"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/comments?post=2346"}],"version-history":[{"count":15,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/posts\/2346\/revisions"}],"predecessor-version":[{"id":3548,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/posts\/2346\/revisions\/3548"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/media\/2390"}],"wp:attachment":[{"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/media?parent=2346"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/categories?post=2346"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.irsa.com.pl\/index.php\/wp-json\/wp\/v2\/tags?post=2346"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}