Resultado de búsqueda
Mikhail Larionov. Poluzhivoi (Half-Alive). 1913. Aleksei Kruchenykh. Book with 17 lithographs (including covers) with lithographed manuscript text. page (each): 7 1/4 x 5 13/16" (18.4 x 14.8 cm).
Some of the Futurists designed their own books and did all kinds of typographical experiments. One of the most productive writers, designers, editors and publishers of such books was Aleksei Kruchenykh (1886–1968), who only recently has been given honour where it is due.
Aleksei Kruchenykh. Folio 12 from Mirskontsa (Worldbackwards). 1912. Aleksei Kruchenykh, Velimir Khlebnikov. Rubber-stamped text from an illustrated book with twenty-seven lithographs (fifteen with lithographed manuscript text), seven rubber-stamped texts, five lithographed manuscript texts, and collaged cover. composition (irreg.): 7 1/16 × 5 3/8" (18 × 13.6 cm); page (each approx.): 7 5/16 ...
29 de ene. de 2020 · The album War was created by the Russian avant-garde artist Olga Rozanova (1886–1918) with the poet Aleksei Kruchenykh (1886–1968) at the onset of World War I. 1 Between 1914 and 1915, Rozanova worked on the album in her hometown of Vladimir, a city located east of Moscow, while Kruchenykh composed the verses in the Caucasus during a ...
Zaum ( Russian: за́умь, lit. 'transrational') are the linguistic experiments in sound symbolism and language creation of Russian Cubo-Futurist poets such as Velimir Khlebnikov and Aleksei Kruchenykh. Zaum is a non-referential phonetic entity with its own ontology. The language consists of neologisms that mean nothing.
Aleksei Kruchenykh, Aleksandr Rodchenko. Zaumniki (Transrationalists). 1921. Velimir Khlebnikov, Aleksei Kruchenykh, Grigorii Petnikov. Book with two linoleum cuts and one collage illustration. Page: 7 15/16 x 5" (20.2 x 12.7 cm). EUY [Aleksei Kruchenykh], Moscow. Gift of The Judith Rothschild Foundation. 104.2001.1-3. Drawings and Prints
This thesis is dedicated to the work of the Russian Avant-Garde artist Ivan Albertovich Puni (1892-1956): an artist, a theorist and writer, an organizer of exhibition, a teacher of art, and above all, an innovator. This thesis presents an account of the artist's Berlin period (1920-1924), which has so far lacked scholarly attention.
