Very Good. This book is in very good condition. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. Ships within 24 hours from US or UK warehouse but NO EXPEDITED ORDERS. See all our books here, order more than 1 book and get discounted shipping.
Dispatched, from the UK, within 48 hours of ordering. This book is in good condition but will show signs of previous ownership. Please expect some creasing to the spine and/or minor damage to the cover. Aged book. Please note this book is over 20 years old. It will therefore have tanned pages, age spots and plenty of shelf wear. However, for its age it is still very useable, and a great read.
Very Good condition, top edge very slightly flecked. This book is in stock now in our UK premises. Photos of most of our books are available-please ask, as dustjacket and cover illustrations vary and the pictures you may see are often not ours. Overseas buyers also note that shipping rates apply to packets of 1Kg and under, and should the packed weight of an item exceed this we reserve the right to ship via 'Economy', or cancel, or request extra postage prior to fulfilling the order.
Very Good. This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping.
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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