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Russian Futurism Avant Garde Symbolism Jewish Art Book "twelve" Annekov & Block For Sale

Russian Futurism Avant Garde Symbolism Jewish Art Book

DESCRIPTION : Here for sale is the FIRSTIsrael EDITION of the richly illustrated RUSSIAN POETRY BOOK byALEXANDER ( 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 $10 . 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.


The Russian poet Aleksandr Aleksandrovich Blok (1880-1921) was a leading figure in the Russian symbolist movement. His strongly rhythmic poetry is characterized by metaphysical imagery, dramatic use of legend, and responsiveness to history and to social life. Aleksandr Blok was born in St. Petersburg on Nov. 28, 1880. His father was a professor of law, and his mother a writer and translator; Blok thus grew up in an upper-class intellectual milieu. Summers were spent at Shakhmatovo, the Bloks' country home near Moscow. There the famous chemist D. I. Mendeleev was a neighbor, and in 1903 Blok married Mendeleev's daughter.Blok had 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 strongly symbolistic Verses about the Beautiful Lady, appeared in 1904. Although most critics ignored the volume, it was greeted enthusiastically by Valery Bryusov, Andrei Bely, and the "older generation" of Russian symbolists, and Blok's poetry and reviews soon appeared regularly in their magazines.Bryusov, the editor of the Balance and a leading symbolist theorist and poet, strongly influenced Blok in the years 1903 and 1904. Under Bryusov's guidance Blok turned to themes of city life and began to use fresh rhythmic patterns and images that expressed the mysterious power of sensual love. Among his notable poems of this period are "The Swamp Demon," "The Unknown Lady," "The Night Violet," "The Snow Mask," "The Factory," and "From the Newspapers." The last two indicate Blok's growing social awareness.By 1906, when he graduated from the philological 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 never a popular success. Blok wrote several other plays, including the fulllength The Rose and the Cross (1913), which was based on medieval French romances. Although rehearsed by Stanislavski's Moscow Art Theater, this play was not presented.In 1907-1908 Blok was a reviewer for the magazine Golden Fleece. His articles combined evaluations of contemporary literature with a longing for the Russian past and for a vital connection between the intelligentsia and the people. In "Russia" and "On Kulikovo Field" (both 1908), he searched for a way to bring national history to bear on the present.Despite his feelings of personal failure, from 1909 to 1916 Blok wrote poetry of high artistic achievement. "The Terrible World," "In the Restaurant," "Night Hours," and "Dances of Death" are particularly indicative 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 trip inspired Blok's exquisite cycle Italian Poems (1909).During World War I Blok served as a clerk with a forward engineers' company. He greeted the 1917 Revolution sympathetically. Indeed, his poem The Twelve (1918), a combined lyric and narrative about 12 Red Guardsmen on city patrol, synthesizes Christian values and reformist principles. It brought Blok even wider popularity and enduring fame. The revolutionary leader Leon Trotsky remarked that although Blok was not "one of us," The Twelve was "the most significant work of our time." In his long, unfinished, autobiographical poem Retribution, Blok summarized social change at the turn of the century. Under the Soviet government Blok was a member of the directorate of the state theaters and chairman of the Petrograd section of the Poets' Union. Hard times, political bitterness, and his own confused life made him old at 40. In one of his last published works, The Decline of Humanism (1921), he lamented the dissipation of European style and the loss of heroes who could persuade men to act rationally in true self-interest. Blok died in Petrograd on Aug. 7, 1921. Aleksandr Blok’s Twelve When the 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 and all around me.” That noise was the sound of Revolution. The noise grew into his poem Twelve. After completing his masterpiece, Blok added to his notebook: “Today I am a genius.” And indeed he was, for in two days and twelve cantos he had captured the essence of the universal upheaval into which he and his country had been cast. Yet Twelve is not a revolutionary poem, although it is about revolution; neither is it a religious poem, although it is about revelation.Twelve reflects the ambivalence and the uneasiness that educated Russians felt during the first months of the Revolution -- a period that fell between Russia’s failures in World War I and the horrors of Civil War that would soon follow. Twelve, which caused great poetic controversy, has no poetic unity. It consists only of flying fragments: bits and pieces from the Orthodox liturgy and revolutionary songs, from vulgar rhymes and popular ditties, from lamentations, the calls of looters, and even prostitutes’ solicitations. Many of these fragments shock the ear in their juxtapositions. The language of Twelve is alternately elevated and vulgar, archaic and modern, serious and mocking. It describes a whirling, topsy-turvy world caught in a cataclysm that is linguistic and historical and philosophical and meteorological. Man and nature and art are bound together in one crucial historical moment, in the storm of Revolution. Blok was a Symbolist poet, and the Symbolists searched this, the real, phenomenal world, for omens, reflections, symbols of transcendent, cosmic events taking place in the spiritual, noumenal world beyond. But could Blok, or can the reader, decipher these symbols? Symbols are by nature ambiguous. They can mean contradictory things at the same time. Blok’s use of symbols creates a poem of depth and ambiguity. It also raises unanswered questions. The real world of Twelve is revolutionary Russia in microcosm and its imagery is ordinary: blizzard, darkness, crossroads, a pathetic love triangle, twelve marching men, murder, a vision of Christ. The color scheme in the work is limited to three powerful, symbolic colors: black (a symbol of night, violence, death), white (representing snow, purity, spirit), and red (the quintessential color of revolution, but also life’s blood, fire, and destruction). The blizzard is the elemental, irrational storm that blinds everyone -- both revolutionaries and the last remnants of the old order -- to what is happening around them. The crossroads become a metaphor for choice -- which way do we go now? The Old World, which has been destroyed by revolution, is reduced to the image of a mangy dog following behind the Red Guards “with its tail between its legs.” Are the twelve men just Red Guards? Or are they “apostles of the revolution”? Missionaries of a new socialist “faith” without God (“yeah, yeah, without the cross”)? The Revolution is a bloody carnival, an extraordinary event that stands outside normal time and space, when things can become the opposite of what they usually are, when traditional laws do not apply. Yury Pavlovich Annenkov (Russian: Юрий Павлович Анненков also known as Georges Annenkov); 23 July 11 July 1889]1889 in Petropavlovsk, Russian Empire– 12 July 1974 in Paris, France), was a Russian artist mostly known for his book illustrations and portraits. He also worked for theatre and cinema (design). A member of Mir Iskusstva. In his essay "On Synthetism" (1922), Yevgeny Zamyatin writes that "[Annenkov] has a keen awareness of the extraordinary rush and dynamism of our epoch. His sense of time is developed to the hundredth of a second. He has the knack--characteristic of Synthetism--of giving only the synthetic essence of things." Yury Annenkov was born into a well-known family (among his ancestors was Pavel Annenkov, Alexander Pushkin's publisher); his father, Pavel Annenkov was involved with revolutionary activities that led him to exile in Siberia. The Annenkovs moved back to St.Petersburg in 1892. In 1908, Annenkov entered the University of St. Petersburg and attended Savely Seidenberg's studio classes, together with Marc Chagall. Next year, 1909, he attended Jan Ciaglinski's studio. In 1911-1912, Annenkov moved to Paris to work in the studios of Maurice Denis and Félix Vallotton. In 1913, Annenkov worked in Switzerland. Upon his return to St.Petersburg in 1914, Annenkov mostly contributed to magazines (Satirikon, Teatr i Iskusstvo, 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 a book illustrator came in the wake of his most known work— designing Alexander Blok's poem, The Twelve, published in 1918 and gone through three printings within a year. In the next few years Annenkov designed numerous books for Petrograd authors (Mikhail Kuzmin and Aleksey Remizov, to name a few). In 1919 Annenkov designed and staged "First Distiller, or How an Imp Earned a Hunk of Bread", a comedy by Count Lev Tolstoi. Commissioned by the Bolshevik government, Annenkov together with Mstislav Dobuzhinsky, S. Maslovski and A. Kugel, designed and staged the open-air mystery "Liberated Labour Anthem" 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 anniversary celebrations in Palace Square, Petrograd. In 1919-1920 Annenkov made a series of abstract sculptural assemblages and collages, influenced by the Dada movement. 1922 saw his book "Portraits". It contained 80 pictures of the key-figures of Russian art of the time (Gorki, Zamyati, Remizov, Sologub, Blok, Akhmatova a.o.) made in 1906-1921. The book also included essays by Yevgeny Zamyatin and Mikhail Kuzmin. He joined the Mir Iskusstva. Annenkov left 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 motion pictures. 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

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Russian Futurism Avant Garde Symbolism Jewish Art Book "twelve" Annekov & Block:
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