RUSSIAN Futurism AVANT GARDE Symbolism JEWISH ART BOOK \"Twelve\" ANNEKOV & BLOCK
![RUSSIAN Futurism AVANT GARDE Symbolism JEWISH ART BOOK \](img-large/g/koYAAMXQnYJQ~NOK/s-l1600/RUSSIAN-Futurism-AVANT-GARDE-Symbolism-JEWISH-ART-.jpg "RUSSIAN Futurism AVANT GARDE Symbolism JEWISH ART BOOK \")
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RUSSIAN Futurism AVANT GARDE Symbolism JEWISH ART BOOK \"Twelve\" ANNEKOV & BLOCK:
$115.00
DESCRIPTION : Here for sale is the FIRSTIsrael EDITION of the richly illustrated RUSSIAN POETRY BOOK byALEXANDER BLOCK ( Also spelled as ALEKSANDR BLOK ) with numerous FULL PAGE FUTURIST-SYMBOLIST-AVANT GARDE illustrations by GEORGES ANNENKOV. This 1918 poetry book named \"THE TWELVE\" (Двенадцать ) was published in ISRAEL around 40-50 years ago ( Undated ) and was translated to Hebrew by the legendary Russian-Israeli poetAVRAHAM SHLONSKY. It is written in RUSSIAN and HEBREW placed opposite each other. This impressive RARE and SOUGHT AFTER edition containsnumerous FULL PAGE ILLUSTRATIONS : Futurist , Avant - Garde andsymbolists . HC. Maroon headings over white leather immitation HC. 11 x 9\" . 100 PP . Thick paper. Very good condition. ( Pls look at scan for accurate AS IS images ) Book will be sent inside a protective envelope . PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : SHIPP worldwide via registered airmail is $18 . Book will be sent inside a protective envelope . Will be sent within3-5 days after payment . Kindly note that duration of Int\'l registered airmail is around 14 days.
TheRussian poet Aleksandr Aleksandrovich Blok (1880-1921) was a leading figure inthe Russian symbolist movement. His strongly rhythmic poetry is characterizedby metaphysical imagery, dramatic use of legend, and responsiveness to historyand to social life. Aleksandr Blok was born in St. Petersburgon Nov. 28, 1880. His father was a professor of law, and his mother a writerand translator; Blok thus grew up in an upper-class intellectual milieu. Summers were spentat Shakhmatovo, the Bloks\' country home near Moscow. There the famous chemistD. I. Mendeleev was a neighbor, and in 1903 Blok married Mendeleev\'s daughter.Blokhad begun to write as a boy. In 1903 some of his poems were published in D. S.Merezhkovski\'s magazine, the New Way. Blok\'s first book, the stronglysymbolistic Verses about the Beautiful Lady, appeared in 1904. Althoughmost critics ignored the volume, it was greeted enthusiastically by ValeryBryusov, Andrei Bely, and the \"older generation\" of Russiansymbolists, and Blok\'s poetry and reviews soon appeared regularly in theirmagazines.Bryusov, the editor of the Balance and a leading symbolisttheorist and poet, strongly influenced Blok in the years 1903 and 1904. UnderBryusov\'s guidance Blok turned to themes of city life and began to use freshrhythmic patterns and images that expressed the mysterious power of sensual love. Among hisnotable poems of this period are \"The Swamp Demon,\" \"The UnknownLady,\" \"The Night Violet,\" \"The Snow Mask,\" \"TheFactory,\" and \"From the Newspapers.\" The last two indicateBlok\'s growing social awareness.By 1906, when he graduated from thephilological faculty of St. Petersburg University, Blok was a recognized poet.That year Vsevolod Meyerhold directed and starred in Blok\'s one-act verse play,The Puppet Show. Though admired in literary circles, the play was nevera popular success. Blok wrote several other plays, including the fulllength TheRose and the Cross (1913), which was based on medieval French romances.Although rehearsed by Stanislavski\'s Moscow Art Theater, this play was notpresented.In 1907-1908 Blok was a reviewer for the magazine Golden Fleece.His articles combined evaluations of contemporary literature with a longing forthe Russian past and for a vital connection between the intelligentsia and the people. In\"Russia\" and \"On Kulikovo Field\" (both 1908), he searchedfor a way to bring national history to bear on the present.Despite his feelingsof personal failure, from 1909 to 1916 Blok wrote poetry of high artisticachievement. \"The Terrible World,\" \"In the Restaurant,\"\"Night Hours,\" and \"Dances of Death\" are particularlyindicative of his spiritual turmoil.Blok and his wife had a stormy marital relationship,but during a temporary reconciliation they traveled in Italy in 1909. This tripinspired Blok\'s exquisite cycle ItalianPoems (1909).During World War I Blok served as a clerk with a forwardengineers\' company. He greeted the 1917 Revolution sympathetically. Indeed, hispoem The Twelve (1918), a combined lyric and narrative about 12 RedGuardsmen on city patrol, synthesizes Christian values and reformistprinciples. It brought Blok even wider popularity and enduring fame. Therevolutionary leader Leon Trotsky remarked that although Blok was not \"oneof us,\" The Twelve was \"the most significant work of ourtime.\" In his long, unfinished, autobiographical poem Retribution,Blok summarized social change at the turn of the century. Underthe Soviet government Blok was a member of the directorate of the statetheaters and chairman of the Petrograd sectionof the Poets\' Union. Hard times, political bitterness, and his own confusedlife made him old at 40. In one of his last published works, The Decline ofHumanism (1921), he lamented the dissipationof European style and the loss of heroes who could persuade men to actrationally in true self-interest. Blok died in Petrograd on Aug. 7, 1921. Aleksandr Blok’s Twelve Whenthe Russian Symbolist poet Aleksandr Blok (1880-1921) completed his poem Twelve on 29 January 1918,he wrote in his diary notebook: “I hear a terrible noise, growing within me andall around me.” That noise was the sound of Revolution. The noise grew into hispoem Twelve. After completing hismasterpiece, Blok added to his notebook: “Today I am a genius.” And indeed hewas, for in two days and twelve cantos he had captured the essence of theuniversal upheaval into which he and his country had been cast. Yet Twelve is not a revolutionarypoem, although it is about revolution; neither is it a religious poem, althoughit is about revelation.Twelvereflects the ambivalence and the uneasiness that educated Russians felt duringthe first months of the Revolution -- a period that fell between Russia’sfailures in World War I and the horrors of Civil War that would soon follow. Twelve, which caused greatpoetic controversy, has no poetic unity. It consists only of flying fragments:bits and pieces from the Orthodox liturgy and revolutionary songs, from vulgarrhymes and popular ditties, from lamentations, the calls of looters, and evenprostitutes’ solicitations. Many of these fragments shock the ear in theirjuxtapositions. The language of Twelveis alternately elevated and vulgar, archaic and modern, serious and mocking. Itdescribes a whirling, topsy-turvy world caught in a cataclysm that islinguistic and historical and philosophical and meteorological. Man and natureand art are bound together in one crucial historical moment, in the storm ofRevolution. Blok was a Symbolist poet, and theSymbolists searched this, the real, phenomenal world, for omens, reflections, symbols of transcendent,cosmic events taking place in the spiritual, noumenal world beyond. But couldBlok, or can the reader, decipher these symbols? Symbols are by natureambiguous. They can mean contradictory things at the same time. Blok’s use ofsymbols creates a poem of depth and ambiguity. It also raises unansweredquestions. The real world of Twelve is revolutionaryRussia in microcosm and its imagery is ordinary: blizzard, darkness,crossroads, a pathetic love triangle, twelve marching men, murder, a vision ofChrist. The color scheme in the work is limited to three powerful, symboliccolors: black (a symbol of night,violence, death), white (representing snow,purity, spirit), and red (the quintessentialcolor of revolution, but also life’s
blood, fire, and destruction). Theblizzard is the elemental, irrational storm that blinds everyone -- bothrevolutionaries and the last remnants of the old order -- to what is happeningaround them. The crossroads become a metaphor for choice -- which way do we gonow? The Old World, which has been destroyed by revolution, is reduced to theimage of a mangy dog following behind the Red Guards “with its tail between itslegs.” Are the twelve men just Red Guards? Or are they “apostles of therevolution”? Missionaries of a new socialist “faith” without God (“yeah, yeah,without the cross”)? The Revolution is a
bloody carnival, an extraordinaryevent that stands outside normal time and space, when things can become theopposite of what they usually are, when traditional laws do not apply. Yury Pavlovich Annenkov (Russian: ЮрийПавлович Анненковalso known as Georges Annenkov); 23 July 11 July 1889]1889 in Petropavlovsk, Russian Empire– 12 July 1974in Paris, France), was a Russianartist mostly known for his book illustrations and portraits. He also workedfor theatre and cinema (design). A member of Mir Iskusstva. In his essay \"OnSynthetism\" (1922), Yevgeny Zamyatin writes that\"[Annenkov] has a keen awareness of the extraordinary rush and dynamism ofour epoch. His sense of time is developed to the hundredth of a second. He hasthe knack--characteristic of Synthetism--of giving only the synthetic essenceof things.\" Yury Annenkov was born into awell-known family (among his ancestors was Pavel Annenkov, AlexanderPushkin\'spublisher); his father, Pavel Annenkov was involved with revolutionaryactivities that led him to exile in Siberia.The Annenkovs moved back to St.Petersburg in 1892. In 1908, Annenkoventered the Universityof St. Petersburgand attended Savely Seidenberg\'s studio classes, together with Marc Chagall. Next year, 1909, heattended Jan Ciaglinski\'s studio. In 1911-1912, Annenkov moved to Paris to workin the studios of MauriceDenis andFélixVallotton.In 1913, Annenkov worked in Switzerland. Upon his return to St.Petersburgin 1914, Annenkov mostly contributed to magazines (Satirikon, Teatr iIskusstvo, Otechestvo) and worked for theatres. Maxim Gorky\'s fairy-tale book, Samovar,published in 1917 was his first work as a book designer. His recognition as abook illustrator came in the wake of his most known work— designing Alexander Blok\'s poem, The Twelve, published in 1918and gone through three printings within a year. In the next few years Annenkovdesigned numerous books for Petrogradauthors (MikhailKuzminand AlekseyRemizov,to name a few). In 1919 Annenkov designed and staged \"First Distiller, orHow an Imp Earned a Hunk of Bread\", a comedy by Count Lev Tolstoi. Commissionedby the Bolshevik government, Annenkov together with Mstislav Dobuzhinsky, S. Maslovski and A.Kugel, designed and staged the open-air mystery \"Liberated LabourAnthem\" on 1 May 1920 in Petrograd.Later that year, Annenkov staged and designed another mass show, The Storming of the Winter Palace, part of the October Revolution anniversarycelebrations in PalaceSquare,Petrograd. In 1919-1920 Annenkov made a series of abstract sculpturalassemblages and collages, influenced by the Dadamovement. 1922 saw his book \"Portraits\". It contained 80pictures of the key-figures of Russian art of the time (Gorki, Zamyati,Remizov, Sologub, Blok, Akhmatovaa.o.) made in 1906-1921. The book also included essays by Yevgeny Zamyatin and Mikhail Kuzmin. He joined the Mir Iskusstva. Annenkovleft Russia in July 1924, first living in Germany and later settling in Paris.He continued to work as an artist and served as a costume designer for motionpictures. He was co-nominated with Rosine Delamare for the Academy Award for Costume Design for their work in the film The Earrings of Madame de...(1953).
RUSSIAN Futurism AVANT GARDE Symbolism JEWISH ART BOOK \"Twelve\" ANNEKOV & BLOCK:
$115.00