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The creativity of the most celebrated artists of the modern period has been enriched and expanded by their work in the print medium. Exploiting the potential of such techniques as woodcut, lithography, etching and screenprint, as well as other processes, these artists have added immeasurably to their expressive vocabularies. Many have availed themselves of the expertise offered by master printers in professional workshops and have benefited from the fruits of such collaboration. They have found inspiration in traditional printed formats, such as portfolios and illustrated books, and have used them to explore thematic interests. As a result of these experiences, printmaking has exerted influence on their work in other mediums and has become integral to their creative thinking as a whole. Finally, the fact that prints are made in editions rather than as single impressions has enabled these artists to reach a much broader audience than would otherwise be possible.~This volume includes the work of artists from the late 19th century to the present and demonstrates the imaginative ways in which they used print techniques. The potential of the woodcut was explored by Paul Gauguin and Edvard Munch, and the woodcut later became a major preoccupation of the German Expressionists Ernst Ludwig Kirchner, Emil Nolde and Max Beckmann; lithographed posters were a specialty of Henri de Toulouse-Lautrec; Pablo Picasso and Joan Miró experimented with drypoint, etching, and lithography, among other techniques, in new and original ways; Andy Warhol and Jasper Johns exploited the painterly aspects of lithography and the commercial look of screenprint. The current generation of artists, among them Terry Winters and Kiki Smith, has gravitated to printed art as an essential aspect of their creative practice, with major bodies of work already produced.~Including more than 200 illustrations, this publication is organized as an unfolding historical narrative with a focus on individual artists, each with a succinct text describing his or her relationship to printmaking. Bibliographic references cite the latest scholarship in the field. An index of artists, printers, and publishers reflects the involvement of various partners in the printmaking enterprise. All works reproduced are from The Museum of Modern Art's extraordinary collection of over 50,000 prints, the finest of its kind in the world.With more than 200 prints by such modern masters as Hans Arp, Georg Baselitz, Joseph Beuys, Louise Bourgeois, Georges Braque, Vija Celmins, Paul Cézanne, Chuck Close, Willem de Kooning, Sonia Delaunay-Terk, Marcel Duchamp, Helen Frankenthaler, Lucian Freud, Robert Gober, Natalia Goncharova, Peter Halley, Damien Hirst, David Hockney, Edward Hopper, Vasily Kandinsky, Anish Kapoor, William Kentridge, Fernand Léger, Sol LeWitt, Elizabeth Murray, Bruce Nauman, Barnett Newman, Emily Nolde, Chris Ofili, Sigmar Polke, Martin Puryear, Robert Rauschenberg, Odilon Redon, Gerhard Richter, Dieter Roth, Susan Rothenberg, Kurt Schwitters, Shahzia Sikander, Kiki Smith, Frank Stella, Richard Tuttle and Kara WalkerEssay by Deborah Wye.Clothbound, 9.5 x 11 in./240 pgs / 275 color 20 BW0 duotone 0 ~ Item D20148 ... Read more

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Edited by Jean Hans Arp & El Lissitzky. Essay by Alois M. Muller.

9.75 x 10.5 in.
75 illustrations
English/French/German ... Read more

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For the Voice, first published in 1923, has long been recognized as one of the finest achievements of Russian avant-garde bookmaking, a tradition in which poets and artists collaborated to create books that attained the status of art objects. By any reckoning, For the Voice is a landmark event in the history of modern graphic design. The book was inspired by the "new optics," where ideas are given form through printed letters, turning them into pictorial signs, and by "words that are seen and not heard," as Lissitzky wrote.This three-volume slipcased set consists of a facsimile volume that is faithful to the original in size, color, weight, and paper quality; a translation by Peter France of the original text; and Voices of Revolution, a collection of critical essays that analyze the character and significance of the original publication and describe the inner workings of the poet's "construction in sound" complemented by the designer's "constructions for the eye." ... Read more

Customer Reviews (3)

I heartily agree with the other reviewers but....
I paid about 25 pounds (45 us dollars) for this about 10 years ago, and yes, i'm feeling a bit smug, but really 1000 dollars plus for a product of socialism? i never believed all that stuff about americans and irony....

A rare oportunity
Back in 1992, I was in New York to attend the exhibition "The Great Utopia" which was held in Guggenheim. The show was a dreamland for the soviet art of the twenties still not known as it should be. Moved by the great amaze the exhibition made over me, I looked for the editor Jaap Rietmann who had made an almost out-of-print fac-similar version of the historical book Dlia Golossa by Maiakovsky with El Lissitsky's graphic design. I was not successful. Mr Rietmann said me that this was a very expensive book and he discontinued. Years later, I made a contact with the excellent work of Mrs. Patricia Railing, one of the most gifted analysers of the period, in my opinion. She has not only a great inside information about the subject but held the courage to accept the challenge and publish this and others precious titles of the russian avant-garde. Books such as History of 2 squares (also listed here in Amazon), 32 Drawings by Kasimir Malevitch and others, as well as essays in various publications (Leonardo and others). Patricia Railing is one of these people who is so much dedicated to a subject to the point it makes the researcher go beyond any obstacle. The book is simply great, very well edited and - I must warn - hold it! because maybe another chance will not arise.

Well crafted book+great poetry. pity about the propaganda..
Vladamir Mayakovsky was the greatest of the early 20th-centuary Russian "Futurist" poets. For The Voice was a compilation of his most-quoted poetry, made in collaberation with bookmaker El Lissitzky. The book itself can be considered an art-object. The use of a thumb index so that poems could be found quickly is an ingenious touch. Mayakovsky was a great poet, but the poems included here do not in my opinion fully exhibit his talent. This is because most of them were written as pro-Bolshevik revolutionary propaganda, and meant primarily for agitation of the proletariat, rather then casual reading enjoyment. As a result some of the statements ie. "..We'll break history's horse./By the Left!/Left!/Left!.." seem a little less inspired, and more outdated then Mayakovsky's other work. He was still a genious, though, and this book is well worth the money. This edition consists of three volumes - the facsimilie, the translation, and a collection of very interesting essays and facts about Mayakovsky and Lissitzky (one section of which is a great help in understanding the poems at a deeper level).. I would recommend this book to anyone interested in Mayakovsky, Russia, or avante-garde bookmaking/artwork. For anyone else - FIRST look at some of Mayakovsky's other poetry..a lot can be found online...and maybe his other books, then come back to this one. His long poem, "A Cloud in Trousers" is highly recommended. Sad note : Mayakovsky felt so oppressed by the soviet society he wrote propaganda for, so tired of his poetic voice being stifled, and so dissapointed in romance, that he shot himself dead in 1930, aged 36. ... Read more

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Chapters: Wassily Kandinsky, Kazimir Malevich, Marc Chagall, Vladimir Mayakovsky, Vesnin brothers, El Lissitzky, Constructivist architecture, Konstantin Melnikov, Constructivism, Vladimir Shukhov, Vkhutemas, Nikolai Ladovsky, Michail Grobman, Tango With Cows, Universal War, Naum Gabo, Ilya Golosov, Lyubov Popova, Alexander Rodchenko, Narkomfin Building, Vitebsk Museum of Modern Art, Alexander Archipenko, OSA Group, Alexander Osmerkin, Vasily Kamensky, Suprematism, Osip Brik, Vadim Shershenevich, David Burliuk, Moisei Ginzburg, UNOVIS, Bakhmetevsky Bus Garage, Alexander Bogomazov, Vladimir Bougrine, Aleksandr Voronsky, Velimir Khlebnikov, Arkady Mordvinov, Proletkult, Pavel Filonov, Léopold Survage, Nathan Altman, Aleksandra Ekster, Valentin Parnakh, Svoboda Factory Club, Bulldozer Exhibition, Vadym Meller, Shukhov Tower, Novo-Ryazanskaya Street Garage, Anatolii Ivanovich Sivkov, Vasyl Yermylov, List of Chagall's artwork, Natalia Goncharova, Sergei Tretyakov, ASNOVA, Rayonism, Tatlin's Tower, Olga Tsutskova, Zaum, Vladimir Tatlin, Ivan Leonidov, Yakov Chernikhov, Vadim Sidur, Boris Grigoriev, Nina Genke-Meller, Aristarkh Lentulov, Vladimir Baranov-Rossine, Vyacheslav Oltarzhevsky, Yury Annenkov, David Shterenberg, Mikhail Larionov, Ivan Nikolaev, Varvara Stepanova, LEF, Museum of Avant-Garde Mastery, Victory over the Sun, Victor Palmov, Olga Rozanova, Benedikt Livshits, Pyotr Subbotin-Permyak, AKhRR, Aleksei Kruchenykh, Alexander Vesnin, Vasilisk Gnedov, Alexei Parshchikov, Verbovka Village Folk Centre, Viktor Aleksandrovic Vesnin, Robert Falk, Nadezhda Udaltsova, Wladimir Burliuk, Jack of Diamonds, Nikolai Suetin, Soyuz Molodyozhi, Solomon Nikritin, Kliment Red'ko, Paul Mansouroff, Antoine Pevsner, Rusakov Workers' Club, Ivan Puni, Ivan Kliun, Kseniya Boguslavskaya, Panteleimon Golosov, Ilya Mashkov, Nikolay Kasatkin, Francisco Infante-Arana, Cubo-Futurism, Leonid Aleksandrovic Vesnin, Productivism, Donkey's Tail, Georgy Krutikov, ...http://booksllc.net/?id=63135 ... Read more

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This book is a facsimile of the original Russian first edition, which was published in 1922.

A masterpiece of ideological simplicity it presents El Lissitzky's political-didactic attempt to teach children mathematics using a puzzle in which the red square always overcomes the black. This is a prime example of where modern typography began. Lissitky's playful approach attracted the eye and made the viewer want to read.

As Max Bill commented, typography is a game that leads to communication, and it all began with Lissitzky's tale of two squares.

German/Russian ... Read more

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Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Gerrit Rietveld, le Corbusier, Alvar Aalto, El Lissitzky, Ernst May, Moisei Ginzburg, Congrès International D'architecture Moderne, Louis Herman de Koninck, Hannes Meyer, Mart Stam, Alison and Peter Smithson, Hendrik Petrus Berlage, Harwell Hamilton Harris, André Lurçat, Sigfried Giedion, Rex Distin Martienssen, Hugo Häring, Uno Åhrén, Pierre Jeanneret, Karl Moser. Excerpt:Robin Hood Gardens , Alison and Peter Smithson, completed 1972 English architects Alison Smithson (1928-1993) and Peter Smithson (18 September 1923-3 March 2003) together formed an architectural partnership, and are often associated with the New Brutalism (esp in architectural and urban theory ) . Peter was born in Stockton-on-Tees in North-East England, and Alison was born in Sheffield , South Yorkshire . They met while studying architecture at Durham University and married in 1949. Together, they joined the architecture department of the London County Council before establishing their own partnership in 1950. Work They first came to prominence with Hunstanton School which used some of the language of high modernist Ludwig Mies van der Rohe but in a stripped back way, with rough finishes and deliberate lack of refinement. They are arguably among the leaders of the British school of New Brutalism . They were associated with Team X and its 1953 revolt against old Congrès International d'Architecture Moderne (CIAM) philosophies of high modernism. Among their early contributions were streets in the sky in which traffic and pedestrian circulation were rigorously separated, a theme popular in the 1960s. They were members of the Independent Group participating in the 1953 Parallel of Life and Art exhibition at the Institute of Contemporary Arts and This Is Tomorrow in 1956. Throughout their career they published t... ... Read more

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High Quality Content by WIKIPEDIA articles! Lazar Markovich Lissitzky, better known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. El Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Jewish faith, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its anti-semitic laws ... Read more

Customer Reviews (1)

Warning
Propaganda might follow this review.Geddit?

Very poor value for money here.BIG price for Wikipedia downloads.If Kama exists, the three "editors" will be edited out of the earth's biosphere. Pleae do not fund evil. ... Read more

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Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: El Lissitzky, Alexey Brodovitch, Slava Zaitsev, Senmuth, Alexander Rodchenko, Andrew Pavlovsky, Maxim Zhukov. Excerpt:Aleksander Mikhailovich Rodchenko Aleksander Mikhailovich Rodchenko (Russian : , 5 December 1891 December 3, 1956) was a Russian artist , sculptor , photographer and graphic designer . He was one of the founders of constructivism and Russian design ; he was married to the artist Varvara Stepanova . 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 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." Life and career Alexander Rodchenko Dance. An Objectless Composition , 1915 Rodchenko was born in St. Petersburg to a working class family. His family moved to Kazan in 1909, after the death of his father at which point he studied at the Kazan School of Art under Nikolai Feshin and Georgii Medvedev, and at the Stroganov Institute in Moscow . He made 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 in his development as an artist. Rodchenko was appointed Director of the Museum Bureau and Purchasing... ... Read more

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Chapters: El Lissitzky. Source: Wikipedia. Pages: 80. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: ·) (Russian: ) (November 23 1890 December 30, 1941), better known as El Lissitzky (Russian: , Yiddish: ), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. El Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Jewish faith, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its anti-semitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and bo...More: http://booksllc.net/?id=5517284 ... Read more

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Kapitel: El Lissitzky, Wladimir Grigorjewitsch Schuchow, Boris Michailowitsch Iofan, Johannes Duiker, Konstantin Stepanowitsch Melnikow, André Bloc, Noi Abramowitsch Trozki, Jakow Georgijewitsch Tschernichow. Aus Wikipedia. Nicht dargestellt. Auszug: ·) (Russian: ) (November 23 1890 - December 30, 1941), better known as El Lissitzky (Russian: , Yiddish: ), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. El Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Jewish faith, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its anti-semitic laws. When only 15 he started teaching; a duty he would stay with for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomonta...http://booksllc.net/?l=de ... Read more

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Chapters: Auguste de Montferrand, Vesnin Brothers, Vasili Bazhenov, El Lissitzky, Nikolay Lvov, List of Russian Architects, Vincenzo Brenna, Charles Cameron, Konstantin Melnikov, Vladimir Shukhov, Nikolai Ladovsky, Ivan Zholtovsky, Fyodor Schechtel, Ivan Fomin, Matvey Kazakov, Berthold Lubetkin, Adam Menelaws, Giacomo Quarenghi, Alexey Dushkin, Alexander Pomerantsev, Alberto Cavos, Ivan Mashkov, Roman Klein, Ilya Golosov, Lev Kekushev, Karp Zolotaryov, Ivan Rerberg, Maximilian Messmacher, David Grimm, Francesco Bartolomeo Rastrelli, Yevgraph Tyurin, Andrey Voronikhin, Miron Merzhanov, Alexey Gornostaev, Andreyan Zakharov, Moisei Ginzburg, Pyotr Baranovsky, Alexander Zelenko, Alexander Kokorinov, Afanasy Grigoriev, Domenico Gilardi, Arkady Mordvinov, Marian Peretyatkovich, Gavriil Baranovsky, Ivan Sergeyevich Kuznetsov, Konstantin Thon, Simon Rastorguev, Illarion Ivanov-Schitz, Vladimir Vladimirovich Sherwood, Nikita Lazarev, Alexander Kaminsky, Alexey Shchusev, Karl Blank, Vitaly Lagutenko, Nikolay Lanceray, Ilya Bondarenko, Nikolay Zherikhov, Dmitry Shvidkovsky, Joseph Bové, William Heste, Carlo Rossi, Ivan Starov, Vladimir Tatlin, Serge Chermayeff, Alexander Bernardazzi, Ivan Leonidov, Yakov Chernikhov, Vyacheslav Oltarzhevsky, Lev Rudnev, Francesco Camporesi, Dmitry Ukhtomsky, Vasily Stasov, Ivan Nikolaev, Viktor Hartmann, Antonio Rinaldi, Yury Felten, Fyodor Gornostayev, Alexander Brullov, Joseph Sunlight, Aleksandr Vitberg, Mikhail Eisenstein, Georg Johann Mattarnovy, Alexander Vesnin, Nikolai Nikitin, Postnik Yakovlev, Viktor Aleksandrovic Vesnin, Andrei Stackenschneider, Domenico Trezzini, Aristotile Fioravanti, Pavel Suzor, Fyodor Kon, Vasili Yermolin, Petrok Maly, Ippolit Monighetti, Aloisio the New, Ivan Ropet, Brothers Bernardacci, Nicholas Benois, Andrey Kvasov, Panteleimon Golosov, Mikhail Zemtsov, Vladimir Osipovich Sherwood, Aloisio Da Milano, Marco Ruffo, Leon Benois, Lev Khrshchonovich, Ivan Fyodorovich Mic...More: http://booksllc.net/?id=6837940 ... Read more

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Kapitel: Kasimir Sewerinowitsch Malewitsch, Alexander Michailowitsch Rodtschenko, Wassily Kandinsky, El Lissitzky, Wladimir Jewgrafowitsch Tatlin, Andrei Kolkutin, Alexandra Exter, Antoine Pevsner, Iwan Albertowitsch Puni, Nadeschda Andrejewna Udalzowa. Aus Wikipedia. Nicht dargestellt. Auszug: Wassily Wassilyevich Kandinsky (English pronunciation: ; Russian: , Vasilij Vasil'evič Kandinskij; 4 December 1866 - 13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession - he was offered a professorship (chair of Roman Law) at the University of Dorpat - he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944. His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. An early period work "Munich-Schwabing with the Church of St. Ursula" (Kandinsky 1908)Kandinsky's creation of purely abstract work followed a long period of development and maturation of intense theoretical thought based on his personal artistic experiences. He called this devotion to inner beauty, fervor of spirit, and deep spiritual desire inner necessity, which was a central aspect of his art. Kandinsky learned from a variety of sources life in ...http://booksllc.net/?l=de ... Read more