Description:Good. Book shows minor use. Cover and Binding have minimal wear...Good. Book shows minor use. Cover and Binding have minimal wear and the pages have only minimal creases. A tradition of southern quality and service. All books guaranteed at the Atlanta Book Company.
Description:Like New. Short owner's name on front flyleaf. In the series,...Like New. Short owner's name on front flyleaf. In the series, The World of Art Library. 256 plates, 21 in color. Clean and bright.
Description:Very Good. The book has been read, but is in excellent condition...Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. 296 p. World of Art S... 356ill.(21col.).
Description:Used-Good. This book is in good condition. All pages are intact...Used-Good. This book is in good condition. All pages are intact, there are no tears to the book and the book is nice and clean. The pages might be slightly dog eared through previous use and textbooks might have a small amount of highlighting but nothing which will obstruct getting the maximum out of the book. Customers are protected by 100% refund guarantee if they are not happy.
Description:Good. 8vo-over 7¾"-9¾" tall. Previous Owner Markings ...Good. 8vo-over 7¾"-9¾" tall. Previous Owner Markings (Highlighting); Light Creasing on Front, Rear Covers, Spine; Front, Rear Covers, Spine Lightly Chipped; Spine Slightly Cocked; Edges Lightly Soiled; Slight Yellowing Due to Age. 256 Plates; 21 in Colour. ALSO KNOWN AS: Originally published in large format as The Great Experiment: Russian Art 1863-1922. CONTENTS: Introduction; Chapter One 1860's-90's; Chapter Two 1890-1905; Chapter Three 1905-10; Chapter Four 1909-11; Chapter Five 1912-14; Chapter Six 1914-17; Chapter Seven 1917-21; Chapter Eight 1921-22; Text References; Selected Bibliography; List of Illustrations; Index. SYNOPSIS: This is the first book to examine the vitally significant Russian contribution to the modern movement in art and architecture. The author has tracked down periodicals, exhibition catalogues, and other rare documents, and out of them has reconstructed the record of her period. She has supported this with illustrations drawn not only from Western collections of Russian art, but also from the far more important collections in Russian museums which have never been seen in the West. Artists like Malevich, Tatlin, Rodchenko are now given their full stature, and the Constructivist movement which they founded is shown to have been a powerful influence on the continental movements between the wars, particularly the Bauhaus. From the aesthetic point of view, the story tells of historic experiments and discoveries. But its greatest interest, perhaps, lies in its account of an attempt to integrate art with society-an attempt that was pursued with passionate idealism through the revolutionary years which gave the movement's protagonists such a unique opportunity. In its short-lived heyday, music, drama, poetry, and all the industrial arts were embraced in an experiment which attacked at the root the problems which still concern the artist today. The original edition of this book (entitled The Great Experiment: Russian Art 1863-1922) was described by John Russell as "a massive contribution to our knowledge of one of the most fascinating and mysterious episodes in the history of modern art". It is now reissued in a smaller format, and in a revised edition, in The World of Art Library. Camilla Gray first visited Russia in 1955, as a ballet student. In 1956 she began her researches into modern Russian painting, working in England, the U.S.A., France, Holland and the U.S.S.R., and consulting the surviving individuals who took part in the story of her subject. In 1960 she returned to the U.S.S.R. to study material for the original edition of this book. She has contributed articles to specialist journals, and prepared the catalogues for the Malevich exhibition at the Whitechapel Gallery (1959) and the Arts Council exhibition of the work of Mikhail Larionov and Natalia Goncharova (1961).
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