Quiet Resistance - Russian Pictorialism 1900-1930s (Photography Art Ebook)

.
19001930- . Fondazione
Scientifica Querini Stampalia Onlus, ,
2005
This catalogue is published to accompany the exhibition

Quiet Resistance: Russian Pictorialism. 19001930s
at the Fondazione Scientifica Querini Stampalia Onlus, Venice,
April to May 2005.
:
: , ,
,
Curator: Olga Sviblova

Contributors: Sergey Burasovsky, Mikhail Golosovsky,
Elena Misalandi, Anastasia Chernenkova
:
:
:
:
Compiled and edited by Elena Misalandi

Designed by Artur Diaghilev
Translated by Dmitry Fedosov
Proof-read by Olga Kanunnikova
.
, , 2005
, , 2005
, , 2005
Multimedia Complex of Actual Arts, GUK, Moscow,

publication, 2005
Olga Sviblova, text, 2005
Dmitry Fedosov, translation, 2005
All rights reserved. No part of this book may be reproduced

in any form without written permission from the publisher
119034, , . , 16
.: (095) 231 3326, 231 3327
: (095) 202 4346
e-mail: info@mdf.ru
119034, Moscow, Ostozhenka St., 16

Tel.: (095) 231 3326, 231 3327
Fax: (095) 202 4346
e-mail: info@mdf.ru
:
,
, ,
, ,
We thank the following lenders to the exhibition:

Mikhail Golosovsky, Union of Photo-Artists of Russia,
Andrey Baskakov, Varvara Rodchenko, Aleksandr Lavrentyev,
Ludmila Mashanskaya, Aleksey Andreyev
: . . . 1926
Photo on front cover: Alexander Grinberg. Study of Movement. 1926
. 1900 1930- .:
. .: .
, 2005. 192 .
ISBN 5-93977-019-3

19001930-
QUIET RESISTANCE
Russian Pictorialism of the 1900s1930s
.

Published by Multimedia Complex of Actual Arts, GUK, Moscow
Moscow House of Photography Museum
1920-1930-
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80- XX

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, 1926, 1, . 27.
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1936, 5-6, . 17.
. , 1936, 5-6, . 32.
3
4
. . ., 1996, . 199-200.
. , . 282.
ussian photographic Avant-Garde of the 1920s and

1930s, represented by Aleksandr Rodchenko, El Lissitzky,
Boris Ignatovich and others, in spite of persecution and
repressive measures of the totalitarian regime, became
a classic part of Russian and world art. Moreover, it became a symbol of the powerful energy and innovative spirit of Soviet Russia in
the first years after the October revolution of 1917. But few people
realize that at the very same period there was another, pictorial
trend in Russian photography, which strove to approximate photography to painting, using mainly soft lenses and special, often
very sophisticated printing techniques. Pictorial photography challenged documentary shots and, just like painting, sought to convey
the emotional side of things, and to express the individual senses
and meanings implied by the artist in his work.
The masters of Russian pictorial photography, Alexander

Grinberg, Yury Yeremin, Nikolai Andreev, Nikolai SvishchovPaola and others, were firmly a part of the world art scene.
They frequently won gold and silver medals at major international
photo shows and salons in Europe, United States and Japan.
Pictorialism in world photography, born in the late nineteenth century, has largely exhausted its aesthetic potential by the mid-1920s.
In Soviet Russia, however, it revived just then.
In 1928, at the exhibition 10 Years of Soviet Photography, the socalled old school clearly dominated, if we consider the number of
participants and their works by comparison with the modernists and
adherents of the new Soviet reportage. In the same year, despite the
fact that rigid ideological pressure on artists, expected to embrace
right away the new aesthetics of Socialist realism, was yet to come
(in the early and mid-1930s), photographers of the pictorial trend
were branded as bearers of bourgeois ideology, idealist individuals
and upholders of the old pre-Revolution ways.
This was actually true insofar as pictorial photo artists went on to
live and work in the new Soviet state, largely adhering to the hallowed human values and their own existential and aesthetic experience. Not all of them rushed to adopt Soviet slogans, which
enforced the priority of the collective over the individual, with
exalted rapture for revolutionary achievements.
Their subject matter was mostly confined to traditional pictorial
themes, i.e. landscapes, nudes, shots of old mansion houses, and
unpretentious genre scenes. A brilliant sense of composition and
virtuoso technique of execution endeared the pictorialists to organisers of international photo shows and salons. Foreign press devoted much attention to them and, curiously, just like Soviet critics,
regarded them as aesthetic opposition to the militant Soviet ideology. For instance, after the Paris salon of 1925 a British photo mag-
azine observed that whatever their political convictions, the

Russians in the shots they sent firmly stand within traditional
bounds.1
Pictorialist photographers were vehemently attacked by Soviet critics, who vainly pointed out the only righteous way to Socialist
realism. As one author put it in 1936, contemporary Soviet reality
is such that laughter, joy and smiles are typical features of our new
way of life, so that our life has become really wonderful.2
Photographic debates of the late 1920s were mostly about aesthetics, focusing on the advantages of certain compositions and opportunities offered by different optical devices or printing techniques.
But by the early 30s aesthetics yielded to ideology. From the late
1920s onwards all spheres of Soviet life, including the art of photography, were haunted by the search for enemies of revolutionary
changes. The enemy image became a foundation for ideological
propaganda. On the one hand it paralysed everyones personality
with fear, on the other, it aimed to consolidate and inspire the
masses in their heroic efforts for the sake of radiant future.
Thus pictorialists ended up as enemies in photography.
They were accused of predilection for the old non-revolutionary
world, where bourgeois values reigned supreme and ignored class
struggles. Passion for landscapes, old palaces or naked women
was condemned as Turgenevs stuff (after the nineteenth-century
writer) and political short-sightedness.
Nevertheless, the more violent the attacks became, the stronger
the quiet resistance. Working with non-Soviet subjects, pictorialists defended their aesthetics, which took shape before revolutionary upheavals, and their outlook, which differed from the new
Bolshevik mythology. Wrote Yury Yeremin, I am going on my
way bravely and calmly. As to reconstruction, for those who
regard it lightly it is very easy to change their ways.3
In 1935 moral persecution of artists led to physical repressions.
Under a ludicrous pretext of dissemination of pornography
Alexander Grinberg was sent to one of Stalins labour camps.
The charges followed the exhibition Masters of Soviet
Photography, held in 1935, where that master of international
renown showed his studies of naked nature. Nudes were purged
from Soviet photography. Vassily Ulitin was exiled from the capital, and virtually all pictorialists lost their right to practise
their profession. Since the late 1930s they were also deprived
of the chance to exhibit their works abroad.
In spite of the crackdown, masters of Russian pictorial photography persevered in their creative work. For example, Yury Yeremin
locked himself up in the bathroom of a big communal flat and
secretly printed his favourite photos in small format. Any of them

would have been sufficient to condemn him.
In 1928 in Novy LEF magazine Alexander Rodchenko spoke out
against pictorialists: It is not so much painting we are struggling
with (it is dying anyway), but rather with photography a la painting We have to experiment.4 But in the mid-1930s, when attacks
on pictorialism were at their worst, he skilfully used that very style
for his famous Circus series as well as scenes from classical operas
and ballets. Perhaps, this was some kind of resistance too... Getting
tired of non-stop revolutionary changes resulting in a reality so distant from his own original ideals, he remarked in his diary on 12
February 1943: Art is serving the people, but the people are led
different ways. I would like to lead the people towards art, not to
lead them somewhere through art. Was I born too early or too late?
Art must be separated from politics.5
From the mid-1980s onwards, Russian modernism, first and foremost the work of Alexander Rodchenko, was increasingly appreciated abroad. Its rediscovery in Russia took place as late as the
mid-1990s. The phenomenon of Russian pictorial photography
only recently began to attract the attention of experts and historians. This reappraisal is still far from complete, but it already gives
us a fuller understanding of the development of early twentiethcentury Russian culture and history.
Sovetskoie foto, No. 1, 1926, p. 27
P. Bliakhin, Sovetskoie fotoiskusstvo peredovoie v mire, Sovetskoie foto,

No. 5-6, 1936, p. 17
Y. Yeremin, Sovetskoie foto, No. 5-6, 1936, p. 32
3
4
In the late 1930s Soviet photography, like Soviet art as a whole,

witnessed the triumph of Socialist realism. Isolated from the outer
world by the iron curtain, it gradually degenerated from the most
important of the arts to an accessory of the ideological machine.
Most of the original photo prints of that period made by artists,
who did not conform to new canons, were neglected, never
appeared in public for over half a century and consequently perished. The exhibition Quiet Resistance: Russian Pictorialism, 1900
to 1930s presents some vintage prints, but does not aspire to a
complete survey of this trend. It is rather a brief summary,
an effort to outline the phenomenon. For the first time it brings
together photos by masters who worked at the same period, and
thus interacted and influenced each other.
A. Rodchenko, Opyty budushchego ( Experiences of the Future),

Moscow, 1996, pp. 199-200
Ibid., p. 282
Olga Sviblova,
Directorn Moscow House of Photography Museum
8 / ANDREI KARELIN
.
. 18701880-

Girls with Albums.

From Art Album of Photographs from Nature. 1870s 1880s
Albumen print
22,217,1
/ ALEKSEI MAZURIN 9
. 1900-

Untitled. 1900s
Albumen print
17,422,9
10 / ALEKSEI MAZURIN
. 1900-

Untitled. 1900s
Albumen print
17,322,9
/ ALEKSEI MAZURIN 11
. 1900-
,
.
Winter. 1900s
Gelatine silver print, toning
. Golosovsky collection
14,719,3
12 / ALEKSEI MAZURIN
. 1900

.
At the Fireplace. 1900

Black gum arabic
18,816,8
/ ALEKSEI MAZURIN 13
. 1898
, ,
.
Having a Stroll. 1898

Salted paper, painting with honey watercolour, varnish
21,516,2
14 / NIKOLAI PETROV
. 1898
; ,

.
Interesting Letter. 1898

Albumen print; silvered paper tinged with gold and platinum
15,511,5
/ NIKOLAI PETROV 15
.. -. 1908
Portrait of .D. Voronets-ntvid. 1908

Phototype
15,710,2
16 / SERGEI LOBOVIKOV
. 19071908

.
Muzhiks. 19071908
Gelatine silver print
20,828,8
/ SERGEI LOBOVIKOV 17
. 1910-

Vagrant Russia. 1910s

Union of Photo-artists of Russia collection
17,523,6
. 19071908
. 19071908
,
.
Off to Get Some Food. 19071908
Akulinushka. 19071908
Gelatine silver print, sepia

2812,8
Black gum arabic

28,29,5
. 19071908

.
Widows Thoughts. 19071908

28,522,7
. 19071908
-
.
Visit to Granny. 19071908

Reddish-brown gum arabic
28,818,8
. 19071908
-
.
Sunset. 19071908
26,522,5
1 3
2
1 | . 19091910
2 | . 19071908
3 | . 1903
19091910
.
Housekeeper. 19091910
Old Mans Delight. 19071908
Teacher. 1903.

20,528,7

21,929,1
Gelatine silver print of 1909 1910

21,529
24 / SERGEI SAVRASOV
. 1920-
Landscape. Late 1920s

Bromoil
14,820,6
/ SERGEI SAVRASOV 25
. 1910-

Winter Landscape. Late 1910s

Pigment print
16,623
26 / SERGEI SAVRASOV
. 1910-
Moscow. Late 1910s

Bromoil
15,611,7
/ SERGEI SAVRASOV 27
. 1900-

.
Over the Pond. 1900s

Brown gum arabic
16,511,7
28 / ANATOLY TRAPANI
. 1915
Study. 1915
Photoetching
14,414,8
/ ANATOLY TRAPANI 29
. 1915
Study. 1915
Photoetching
14,49,6
30 / ANATOLY TRAPANI
. 1917
Portrait of a Man. 1917

Photoetching
29,225
/ BORIS YELISEEV 31
. 1912
St. Petersburg. 1912

Ozobrome
12,718,1
32 / MIRON SHERLING

. . 1914
Fedor Chaliapin in the Title Role

of the Opera Mefistofele by A. Boito. 1914
Photoengraving
Union of Photo-artists of Russia
21,615,6
/ MIRON SHERLING 33

. . 1913
-
.
Fedor Chaliapin as the Miller in the opera Rusalka

by Dargomyzhsky. 1913
Mezzo-tintograph
21,214,8
34 / MIRON SHERLING

. . 1913
-
.
Fedor Chaliapin in the Title Role of the Opera

Boris Godunov by M. Mussorgsky. 1913
Mezzo-tintograph
20,914,5
/ MIRON SHERLING 35
-
. . 1913

. . 1913
-
.
-
.
Fedor Chaliapin in the Title Role of the Opera

Don Quixote by J. Massenet. 1913
Fedor Chaliapin in the Title Role

of the Opera Mefistofele by A. Boito. 1913
Mezzo-tintograph
20,514,9
Mezzo-tintograph
2114,7
36 / ALEXANDER GRINBERG
. 1926

Shadows on Snow. 1926

21,819,1
/ ALEXANDER GRINBERG 37
. 1926

Landscape. 1926
27,120,6
. 1928

.
Courtyard. 1928
22,429
. 1926

.
Embankment. 1926
2028
. 1926
,

Summer Sun. 1926

19,427,8
. . . 1920-

Stairs. Kuchino. Russian Country Houses Series. 1920s

24,619,8
I. 1923
,

BacchanaliaI. 1923
23,730
. 1923

.
Parting Day. 1923

31,723,7
. . 1926
Oriental Dance. Ballet Dancer Maria Peschanaya. 1926

Bromoil
2920,7
. 1926

.
Oriental Dance. 1926

Bromoil with transfer
29,223,8
. . 1926

.
Maria Peschanaya. Vera Mayas Studio. 1926

22,8x26,3
. 1928

Sitting Girl. 1928

28,219,3
. 1926

.
Stranger. 1926
Gelatine silver print on warm paper
28,918,3
. 1920

.
Portrait of an Actress. 1920

37,928,6
. 1925

Study of Movement. 1925

11,327,1
. 1924
,
.
Trio Castelio. 1924

2227,3
. 1928

.

17,628,9
. . 1928

Study of Movement. Group. 1928

15,929
. 1923

.
Nina Vassilyeva from Vera Mayas Studio. 1923

28,317,4
. 19261928

.

22,716,4
. 1926
. 1930
Nude with Umbrella. 1926
Nude with a Ball. 1930
Gelatine silver toned print

Private collection
15,59,9

Private collection
3011,6
. . 1930-
,
.
Nude. Dark Tone. 1930s

27,518
1
2 4
3
1 | -2. 1928

.
Nocturne-2. 1928
27,138,4
2 | . 1926
,

Sitting Woman. 1926

18,529
3 | . . 19261927
, ,
.
Nude. Dark Tone. 1926 1927

Gelatine silver print, sepia, varnish
19,128,9
4 | . 1928

Sitting Woman. 1928

2316,5
. 1925
Nude. 1925
Bromoil
Private collection
17,228,2
. 1920-

Nude. 1920s
Private collection
1018,8
. 1927
,

Cinema Actor Andrei Fait. 1927

Gelatine silver print, toning
29,821,7
. . 1930
,
.
Nude. Dark Tone. 1930

13,522,6
. 1924
,
.
Bather. 1924
33,527,7
. 1920-
,

Nude. 1920s
Private collection
22,230,6
. 1923

.
Portrait of an Actress. 1923

28,922
( ). 1923

Portrait (Woman with a Star). 1923

28,222,8
. 1928

Sergei Eisenstein. 1928

2922,4
. 1928

Sergei Eisenstein. 1928

Private collection
16,512
. 1920-

Joy. 1920s
Toned gelatine silver print
27,822,7
. 1920-

Portrait of a Man. 1920s

3024,7
. 1926
,
.

22,928,5
. . 1930-
. . 1930-

10,728,7

13,529,7
74 / YURY YEREMIN
. 1926
,
.
In a Cave. 1926
18,926
/ YURY YEREMIN 75
. 1926
,
.
Among Cliffs. 1926

Gelatine silver print, warm paper
1924,8
76 / YURY YEREMIN
. 1920-

Herd. Mid-1920s
27,838
/ YURY YEREMIN 77
. 1930-

.78 . 1935
Herd in the Dust. 1930s
p.78 Herd. 1935

26,837,7

17,334,5
80 / YURY YEREMIN
. 1928

Fence. 1928
Private collection
8,913,7
/ YURY YEREMIN 81
. . 1930

Shepherds. Cover for Tourist Magazine. 1930

Private collection
11,115,3
82 / YURY YEREMIN
. 1924
. 1924

Crimea. 1924
Pavilion. 1924

Private collection
78,4

22,715,5
/ YURY YEREMIN 83
. . 1924
. . 1924
Sunrise at Livadia. Crimea. 1924
Miskhor. Crimea. 1924

Private collection
139

Private collection
8,56
84 / YURY YEREMIN
. 1928
. 1928
Shoemaker. 1928
Woman with Children near a Wall. 1928

Private collection
13,18,1

Private collection
8,912,9
/ YURY YEREMIN 85
. 1924
. . 1924
Cart on the Road. 1924
Peasants with a Small Cart. Crimea. 1924

Private collection
7,86,6

Private collection
7,38,1
86 / YURY YEREMIN
. 1920-

Nude. 1920s
Private collection
11,816,5
/ YURY YEREMIN 87
. 1924
,
.
Crimea. 1924
20,328,4
88 / YURY YEREMIN
. 1926

.
Summer. 1926
19,426,3
/ YURY YEREMIN 89
. 1920-

Study. 1920s
28,623,3
90 / YURY YEREMIN
. 1935
,

Courtyard in Sukhumi. 1935

38,927,8
/ YURY YEREMIN 91
. 1928
,

Covered Street in Old Bukhara. 1928

38,827,2
92 / LEONID SHOKIN
. 1920-
,

Butterflies. 1920s
20,228,1
/ LEONID SHOKIN 93
. 1920
White Geese. 1920

Bromoil
21,416
94 / LEONID SHOKIN
. 1930-
. 1940
.
Spreading Flax. 1930s

Gelatine silver print of 1940
21,128
/ LEONID SHOKIN 95
. 1940

.
Working Flax. 1940

20,629,1
96 / LEONID SHOKIN
. 1928

.
Winter Trees. 1928

1813,8
/ LEONID SHOKIN 97
. 1930

.
Winter Day. 1930

21,218
98 / LEONID SHOKIN
. 1925
Tackle. 1925
Bromoil
20,125,9
/ LEONID SHOKIN 99
. 1930-

Volga at Night. 1930s

22,716,8
100 / LEONID SHOKIN
. 1923
. 1926
Portrait of a Girl. 1923
Gypsy. 1926
Bromoil
2216,8
Bromoil
2014,9
/ LEONID SHOKIN 101
. 1916
. 1921
Dance. 1916
Herdboy. 1921

22,215,8

22,711,7
102 / LEONID SHOKIN
. 1930

.
Portrait of an Old Man. Ca. 1930

20,715,7
/ LEONID SHOKIN 103
. 1921
Mills. 1921
Bromoil
18,722,9
104 / LEONID SHOKIN
. 1925
Shepherds. 1925
Bromoil
21,326,5
/ LEONID SHOKIN 105
. 1920-. 1939
Autumn Landscape. 1920s. Print of 1939

Bromoil
1622,1
106 / LEONID SHOKIN
. 1920. 1925

.
Peddler. 1920. Print of 1925

2215,3
/ LEONID SHOKIN 107
. 1926
Bringing News. 1926

Bromoil
22,617
108 / LEONID SHOKIN
. 1919
Kimry. 1919
Bromoil
14,518,5
/ LEONID SHOKIN 109
. . 1930-

On the Volga. Kimry. 1930s

27,818,6
110 - /NIKOLAI SVISHCHOV-PAOLA
, ( ).
1920-

. 1920-
,

Keep Quiet (Kamerny Theatre).

Late 1920s
Dream. 1920s

27,320,9

28,615,6
- /NIKOLAI SVISHCHOV-PAOLA 111
. 1920-
. 1920-
The Call. 1920s
On the Raft. 1920s

34,324,9

26,921,7
. 1930-

Willow Branch. 1930s

20,827
. 1920-
Boat. 1920s
Bromoil
27,335,3
. 1920-
Guarding the Past. 1920s

Bromoil
27,736,6
. 1920-
Leningrad. 1920s
Bromoil
16,325,7
. 1920-

Horse with a Bag. 1920s

16,222,4
. 1920-
Motherhood. 1920s
Bromoil
19,825,4
. 1910-
-. 1920-
Portrait of a Woman. 1910s
Actress Maria Arnazi-Borshak. 1920s
Bromoil
33,224,5
Bromoil
3022,4
. 1930-
. 1920-
Portrait of the Actress Zhukovskaya. 1930s

28,521,5

28,724,4
. 1920-
.121 . 1920-
Demon. 1920s
.121 Study of Movement. 1920s
Bromoil
19,824,7
Bromoil
27,815,4
122 / NIKOLAI ANDREEV
. 1930-

.
Above the Dome. Early 1930s

12,827,5
/ NIKOLAI ANDREEV 123
. 1920-
,

Spring Flood. Late 1920s

Gelatine silver print, drawing
Private collection
14,423,7
. 1924
. 1930
Too Late. 1924
Stocking Up Timber. 1930

Private collection
22,528,4
Bromoil
Private collection
16,223,3
1 2
3 4
. 1929
. 1929
. 1920-
. 1928
,
.
Rising Moon. 1929
At the Fence. 1920s
Buturlino. 1928
Before the Rain. Before 1929
Bromoil, painting
26,533,7

Private collection
16,322

23,629,3

Private collection
20,227,3
. 1920-
. . 1923
Last Ray. 1920s
Moonlight. Panikovo. 1923
Bromoil
19,224,4

Private collection
19,223
. 1929
. 1920-

Evening. 1920s
Evening. 1929

2229,1

Private collection
20,327
. 1930
,

Before the Storm. 1930

Private collection
16,827
. 1920-

First Flowers. 1920s

Private collection
26,936,2
. 1930-
. 1930-
, ,

Field Cares. 1930s
Reaper. 1930s
Toned gelatine silver print, drawing

Private collection
18,828,2
Gelatine silver print, painting, drawing

Private collection
28,724,6
. 1930
. 1935
, ,

,
.
Autumn Cares. 1930
Reaper. 1935

Private collection
2328,9
Bromoil, drawing
28,222,3
. 1926
Having a Smoke. 1926

Bromoil
37,420,5
. 1920-

Boiling Point. 1920s

37,728,1
. 1924

At the Furnace. Before 1924

Private collection
32,544,4
-. 1930
, ,
-. 1930
Portrait of an Old Intellectual. 1930
Portrait of an Old Peasant. 1930

Private collection
3425,1
Bromoil
Private collection
26,219,3
. 1920-
,

Untitled. 1920s
Gelatine silver print, painting
23,531,6
. 1930-

Lenin Monument. 1930s

16,220,2
138 - / SERGEI IVANOV-ALLILUEV
- / SERGEI IVANOV-ALLILUEV 139
. 1922

Labour. 1922
1239,6
140 - / SERGEI IVANOV-ALLILUEV
. 1934

Portrait of Yury Yeremin. 1934

23,128,6
/ EMIL BENDEL 141
. 1910-
,


29,849,7
142 / PIOTR KLEPIKOV
. 1925

Sunrise Over Simeiz. 1925

19,329,4
/ PIOTR KLEPIKOV 143
. 1923
. 1925
Winter Study. 1923
Autumn. 1925
Bromoil
23,617,1

14,36,4
. 1928
. 1925
Near Batumi. 1928
Decorative detail. 1925

29,321,7

21,8
. 1925
,

Marfino. 1925
16,229,2
. 1925
Winters End. 1925

Bromoil
23,128,1
. 1923
,

Snow. 1923
24,428,1
-. 1924
Nikolskoye-Uriupino. 1924
Bromoil
19,322,3
. 1920-
. 1925
Church Entrance. Late 1920s
Ruins. 1925

24,428,3
Bromoil
23,524,2
. . 1925

Kremlin Silhouettes. Moscow. 1925

Tricoloured bromoil
28,222,4
. . 1940

Red Square. Moscow. 1940

38,328,6
152 / VASSILY ULITIN
. 1928
Winter. 1928
Bromoil
23,725,7
/ VASSILY ULITIN 153
. 1926

.
Summer Day. 1926

19,728,2
. 1928

.
Threshing. 1928
20,622,3
. 1928

.
Harvest. 1928
24,523,1
. 1919

.
Portrait of a Young Woman. 1919

26,620
. 1920-

Babushka. 1920s
17,322,9
. 1926
Gypsy. 1926
Resinotype
27,120,8
. 1930

.
Portrait. 1930
Bicoloured bromoil
27,718,9
. 1919.
1922
,
.
Portrait of Guzeev, Actor of the Moscow Art Theatre. 1919.

Print of 1922
2922,1
. 1926
Fisherman Lev Lashchilin. 1926

Bromoil
23,424,4
. 1932

.
Flame of Paris. 1932

Bicoloured bromoil
27,538,5
. 1933
Ballerina. 1933
Photoengraving
38,527,5
. 1926

.
White Sea Study. 1926

19,426,6
. 19261927

North. 1926 1927

21,529,2
1
2
3 4
1 | . 1930

Untitled. 1930
5,57,7
2 | . 1924

Untitled. 1924
5,98,1
3 | . 1930

Untitled. 1930
6,67,6
4 | . 1930

Untitled. 1930
6,97,9
1 2
3
1 | . 1930
2 | . 1930
3 | . 1930
Untitled. 1930
Untitled. 1930
Untitled. 1930

7,48,1

7,68,2

7,68,1
. 1920-

Kovda River. 1920s

29,123,3
. 1920-

Untitled. 1920s
23,621,9
. 1920-

Rookery. 1920s
22,922,6
. 1926

.
Ships at Low Tide. 1926

32,230,2
. 1926 1927

Lake Kovda. 1926 1927

20,528,2
.1928
,
.
Before the Storm. 1928

Gelatine silver print on warm paper, varnish
23,627,5
. . 1925
Pines. Crimea. 1925

Bromoil
34,822,7
. 1929

.
Zlatoust Works. 1929

27,822,7
176 / ALEXANDER RODCHENKO
. 1940

Acrobat. 1940
Private collection
40,727
/ ALEXANDER RODCHENKO 177
. 1940

Vladimir Durov with Sea Lions. 1940

Private collection
41,528,7
. 1940

Juggler. 1940
Private collection
24,129,1
.
. . 1937

Opera Ruslan and Ludmila.

Bolshoi Theatre. Moscow. 1937
22,930,3
1
2
1 | .
. . 1937
2 | .
. . 1937
Ballet La Fille Mal Garde.

Opera Ruslan and Ludmila.


28,940,4

Private collection
19,340
. 1938

Parterre Acrobats. 1938

Private collection
3041,5
182

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19111915
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1914 ,
. .
arelin Andrei Osipovich

1837 born in Soldatskaya Sloboda, Tambov province.
1847 studied under an icon-painter in Tambov.
18571864 studied at the St. Petersburg Academy of Arts;
took up photography.
1865 moved to Kostroma; worked in the photo studio of . Nastiukov.
1866 moved to Nizhny Novgorod, where in 1869 he launched his own
studio Photography and Painting.
1870s1900s participated in numerous photo exhibitions in Russia
and abroad.
1870s1880s produced his Art Album of Photographs from Nature.
1878 member of French National Academy of Arts.
1886 completed his photo album Views of Nizhny Novgorod.
1895 honorary member of the Russian Photographic Society
in Moscow.
1902 photographed slums and their inhabitants for the production
of Maxim Gorkys play The Lower Depths at the Moscow Art Theatre.
1906 died in Nizhny Novgorod.
azurin Aleksei Sergeevich
1846 born in Moscow.
Studied at the Commercial School, Frankfurt-am-Main.
From 1869 member of the board, Reutovo Manufacture Co.
Took painting lessons.
Early 1880s took up photography.
18821883 travelled in Europe.
From 1889 took part in photo exhibitions in Russia and abroad;
mastered genre photography.
1890s member of the Russian Photographic Society,
and in 18951896 member of its board. Was among the first in Russia
to use the technique of gum-arabic print. Corresponding member
of the Hamburg Society of Amateur Photographers; member
of the French National Academy of Arts.
After 1915 died in Moscow.
Petrov Nikolai Alexandrovich
1876 born in Yelets.
1890s1910s took part in numerous exhibitions in Russia and abroad.
1900 graduated from the Riga Polytechnic Institute; studied photography under Professor F. Schmidt in Karlsruhe, Germany.
From 1903 lived in Kiev.
19051920 taught photography at the Kiev Polytechnic Institute.
From 1906 head of department, Kiev Branch of the Imperial Russian
Technical Society.
19061911 chairman of the Daguerre Society of Amateur Photographers.
1910s published over forty works on photography in Russian, German
and English.
19111915 joint editor and head of art section of the magazine
Vestnik Fotografii; founder of the Kiev Art Salons, honorary member
of the Russian Photographic Society.
183
1920 , 1930
;
- .
1940 .

1870, 19
.
1877 ; 1880 .
, 1882 . . 1884 .
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1941, 27 .

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19131917 ,
. .
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1922 (
).
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1928 .
1914 member of the Young Art group, established by . Trapani.

From 1920 taught at the Photographic Institute, from 1930 also professor of the Kiev Institute of Cinematography; headed the photo lab
of forensic examination.
1940 died in Kiev.
Lobovikov Sergei Alexandrovich
1870, 19 June born in the village Belaya, Glazov district, into an
Orthodox deacons family.
1877 entered village school, and in 1880 the Glazov Religious School,
which he quit in 1882 because of illness. In 1884 his parents died.
1885 became apprentice to a photographer in Viatka.
1892 drafted for military service.
1893 moved to St. Petersburg; became a pupil of . Bulla, and then
a retoucher in his studio. Met the photographer . Karelin, on whose
advice he began to work independently.
18941896 returned to Viatka and launched a small photo studio
of his own.
1899 took part in a competition of the St. Petersburg Photographic Society.
1900 awarded bronze medal at the Paris World Exhibition for his genre
works; travelled to Germany, Belgium, France, Switzerland and Austria.
1900s participated in many photographic contests in Russia and
abroad.
1908 established the Viatka Art Group.
1909 put much effort into the creation of the Art and History Museum
in Viatka; corresponding member of the Dresden Society for the
Development of Amateur Photography.
1910 honorary member of the London Society of Fine Arts.
1913 honorary member of the Russian Photographic Society.
1919 dispatched as photographer to the headquarters of the 3rd Army
on the Eastern front.
1920 received a safe-conduct from Narkompros. Started to lecture
at the Institute of Peoples Education.
1920s1930s exhibited in Soviet Russia and abroad.
1925 elected honorary member of the board, Viatka State Regional
Museum.
1926 became member of the Association of Artists of Revolutionary
Russia (KhRR).
1934 received academic pension for life; moved to Leningrad, where
he worked until 1936 in the photo and film laboratory of the Soviet
Academy of Sciences. Later employed in special tasks (macro- and microfilming) for the Institute of Botany, Soviet Academy of Sciences.
1941, 27 November died in Nazi-besieged Leningrad.
Savrasov Sergei Ivanovich
Date of birth unknown.
1910 full member of the Russian Photographic Society, and from 1912
member of its board.
19131917 member of the Young Art group, founded by . Trapani.
1917 on the editorial board of the magazine Vestnik Fotografii.
184

1881 .
1910- ,
; .
1910 ();
1912 . .
1910- .
1913
, 1916 .
, .
1918 ; . .
1920- ; .

.
1910 ().
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-.
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1880 -.
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;
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19131916 ,
. .
1917 .
1958 .

1885 .
1905 ;
.
19051912 .
1906 ().
1913 .
1914 . ,
. .
19151918 ;
- .
1918
, , .
1919 41- ;
.
1921 .
1922 member of the board of the Aerophoto photographic plate

factory (formerly Pobeda).
1928 founding member of the All-Russian Society of Professional
Photographers.
Died after 1928.
rapani Anatoly Ivanovich
1881 born in Odessa into a family of Italian immigrants.
Early 1910s studied at the Moscow School of Painting, Sculpture and
Architecture; worked for Dore Photo Studio in Moscow.
1910 became member of the Russian Photographic Society, and from
1912 member of its board.
1910s contributed to the magazine Vestnik Fotografii.
1913 established the Young Art society, which existed until 1916.
Invented a positive process, which he called radiant gummi.
1918 emigrated to Paris; worked for the atelier of E. Markovitch.
Late 1920s moved to the U.S.; worked as cameraman in Hollywood.
Yeliseev Boris Sergeevich
Date of birth unknown.
1910 became member of the Russian Photographic Society.
Early 1910s contributed to the magazines Vestnik Fotografii and
Fotograficheskiye Novosti; published the essay On Painted
Photography; dealt with the problem of photographic terminology.
1910s took part in Russian and international photo exhibitions.
1913 published his Anthology of Practical Advices for Travelling
Amateur Photographers.
After 1918 died in Petrograd.
Sherling Miron Abramovich
1880 born in St. Petersburg.
1900 studied photography under B. Pashkevich; in 19001905,
at the Munich Photographic Institute under Eugene Smith; attended
the studio of the sculptor Emile Bourdelle in Paris.
1910s worked as freelance portrait photographer; commissioned by
The Sun of Russia to portray famous figures in the arts, sciences and politics; took part in photo exhibitions in St. Petersburg and Nizhny Novgorod.
1913 published his catalogue album M. Sherlings Exhibition
of Art Photography (Art Bureau of N.. Dobychina).
19131916 member of the Young Art group, founded by . Trapani.
After 1917 carried on as portrait photographer.
1958 died in Leningrad.
Grinberg, Alexander Danilovich
1905 graduation from high school. He attended drawing classes at the
Stroganoff Institute.
19051912 studied Physics and Math at Moscow University.
1906 became a member of the Russian Photography Society.
1913 invited to teach at the Russian Photography Society.
185
19231930
( ).
19251928 ;
.
1930 .
1932 (
) 15- .
1934
.
1935
; .. .
1936 -
.
19361939 ;
- ; .
1939 .
1939 1941 -
- .
1945 ; .
1979 .

1881 .
1890-
.
1900 ,
.. .
1905 , ;
.
19071914 , , ,
, ; .
1907
.
1908 .
1910 ().
1913 ;
;
.
1914 Secession.
1915
.
1918 ;
.
19191947 ;
.
1920- ,
, ;
(),
.
19251928 .
1928
10 ; 135 ,
.
19281948
.
1931 .
1935 .
1936

1914 organized the photo-department at A. Hanzhonkov's film studio.

Work as a cinematographer. Called up to the Army.
19151918 POW in Germany. He translated several books on photochemistry.
1918 cinematographer at the Moscow studios of Haritonov, Ermolyev,
and Biofilm.
1919 cinematographer of the political department of the 41st division
of the Red Army. Afterwards he worked at the Odessa studios.
1921 work at the All-Russian Department of Cinema.
19231930 head of the film-technology faculty at GTK (State Cinema
Polytechnic).
19251928 cinematographer at the 1st Goskino Studio. Participation in
exhibitions of 'Art of Movement'.
1930 work in organizations for designing photo-labs.
1932 award from the Central Executive Committee of the USSR on the
15th anniversary of Soviet cinema.
1934 taught photography at the Moscow Society of Photographers.
1935 participation in the Masters of Soviet Photo-Art exhibition in
Moscow. He worked on the photo-design ofthe Lenin Museum.
1936 arrest and sentence to five years of labour camp as an element
dangerous to society.
19361939 served time in the NKVD camp, worked as a photographer
in the Photo-Bureau of the camp, and taught photography.
1939 released for good conduct.
19391941 work as a photographer in the museum of the former
Trinity-Sergei monastery.
1945 retirement. He continued to worked as a free-lance portraitist.
1979 died in Moscow.
Eremin, Yuriy Petrovich
1881 born in Kazanskaya on the Don.
1890 took part in short-term courses for drawing teachers
at the Noverchakasskaya Teacher's Seminary.
1900 entered Moscow Art School. A. M. Vasnetsov's class.
1905 graduated as a free artist. He worked in the Crimea.
19071914 traveled in Germany, Austria, Switzerland, France, Italy.
He began to be interested in photography.
1907 Participation in the International Exhibition of Art Photography
in Nice.
1908 Participation in an international photography exhibition in Naples.
1910 became member of the Russian Photography Society.
1913 Participation in the creative group Young Art. Interest
in engravings. Experiments with difficult photographic techniques:
bromine and gummy Arabic.
1914 opens Secession photo-studio in Moscow.
1915 called up into the Army as a photo-reporter.
1918 return to Moscow where he worked in the Moscow Department
of National Education.
19191947 series of views of Moscow; photographs of monuments
in the Moscow suburbs. 1920s taught photography at the House of
186

.
1937 ;
.
1930-,
() .
1948 .

1895
.
1910
.
1912
.
1915 ;
.
1918 ()
.
1925 .
1928 10 .
1930 .
1941
()
. 5000 .
1941 1945 ;
.
1945 1950- .
1962 .
-
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; .
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, .
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.
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().
1928 ();
.
.
Printing, Three-Hills Manufacture, Dobrolet and the House of Pioneers.

Trained a group of photographers for the Moscow Police Force.
Organised the Police Forces photo-museum.
19251928 participation in 4 exhibitions of Art of Movement.
1928 participation in the 10 Years of Soviet Photography exhibition
with 135 works. He received a first-class award.
19281948 founded and lead a circle for art photography
at the Moscow House of Scientists
1931 began teaching at the Architecture Institute.
1935 worked for Izvestia newspaper.
1936 At a discussion at the House of Cinema on the development
of photography, Eremin is harshly criticized for leaning to the right,
and returning to pictorialist traditions.
1937 Photographs of the Moscow-Volga Canal. He started to work
on Peoples of the USSR.
Late 1930s worked for the All-Soviet Agriculture Exhibition
and the TASS archive.
Shockin, Leonid Vladimirovich
1895 born in the village of Kimri. His father was a shoemaker.
1910 His father gives him a photo-camera.
1912 first photos published in the magazine Russian Illustration.
1915 finished school for aerial photography. Photographed in the army
on the Austrian front.
1918 became a member of the Russian Photography Society, head
of its Kimrskoye department.
1925 participated in an international photo-exhibition in Canada.
1928 participation in the exhibition 10 years of Soviet photography.
1930 photo-correspondent of the Soyuzphoto agency.
1941 When the front reached Kimri, a large part of Shokin's archive,
over 5000 photos, was destroyed in the presence of an NKVD officer.
19411945 head of the photo lab in the army. He received two medals.
19451950 photo-reporter for Kimrskaya Life newspaper.
1962 died in Kimri.
Svishchov-Paola Nikolai Ivanovich
1874 born in Moscow into a family of a petty merchant who owned
a small linen shop; he helped in his fathers business. In 1888 his mother
died. The shop was shortly sold to ..Ovcharenko who owned a photo
studio on Tverskaya street, where Nikolay Svishchov was accepted as
assistant retoucher, then assistant to the photographer ikhail Yakovlev.
1895 opened his own studio on Sukharevsky market and practised
photography on porcelain and glass in the Aquarium garden; attended
the meetings of amateur photographers at the Russian Photographic
Society, but soon fell out with Society members, and ceased to come.
1906 rejoined the Russian Photographic Society.
1908 met the editor of the magazine Vestnik Fotografii, Nikolay
Krotkov, who offered him employment in Krotkovs studio Paola
on Kuznetsky Most; in December Svishchov bought the Paola firm
187
19301940-
.
19561957
. , .
1964 .

1882 .
18901893 ;
, , .
1901 , .
1906 ;
.
1908 ().
1909 ().
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10 .
1929 .
1935 .
1937 ,
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1947 .
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, ,
.
1930- .
1971 .
1979 .

1870 .
1900- .
().
and studio from Krotkov, complete with equipment.

From the early 1910s he assumed the surname Svishchov-Paola.
1910s1920s took part in photo exhibitions in Russia and abroad. Elected
member of the board of the Russian Photographic Society; he ran the Societys
photo lab, and led tours for amateur photographers in the Moscow region.
19251928 participated in Art of Movement exhibitions,
held by the State Academy of Artistic Sciences.
1928 one of the founders of the All-Russian Society of Professional
Photographers; ran practical training for public courses on photography.
Brought up several photographers for Soviet secret police (GPU).
1930s1940s directed the photo section at the Moscow Municipal
House of Pioneers.
19561957 one-man show at the Gorky Literary Institute, Moscow.
Andreev, Nikolai Platonovich
1882 born in Serpuhov.
18901893 attended the local school. From the age of eight he worked
for his father, a hairdresser.
1901 began to draw and take photographs
From 1906 participation in exhibitions in Russia and abroad; opened
an studio in Serpuhov
1908 received a award at the Russian Photography Society exhibition;
he became a member of the RPS.
1909 award and favorable reviews in Dresden.
19141919 mobilized at the very beginning of the war. He fought in combat and was injured. After a stay in a hospital, he returned to Serpuhov.
1919 production designer at the Serpuhov Theatre.
1921 return to photography.
19231927 photographer at the Serpuhov Museum of History.
1924 gold medal at the Exhibition of Decorative and Applied Arts
in Paris. He re-opened his photo-studio.
19271937 photographer at the Serpuhov branch of the Institute of
Scientific Research of the Textile Industry.
1927 gold medal at an international exhibition in Zaragosa.
1928 honorary award at the 10 Years of Soviet Photography
exhibition in Moscow
1929 solo exhibition at the Serpuhov Museum of History.
1935 participation in the Masters of Soviet Photography exhibition.
1937 award at the first Pan-republican Exhibition of Photography
at the Pushkin Museum.
1946 participation in the international photo salon Focus in Amsterdam.
1947 died in Serpuhov.
Ivanov-Alliluev Sergei Kuzmich
1891 born in Petergof. Took up photography at the age of 12.
From the early 1910s permanent participant in photo shows in Russia
and abroad.
1916 publication of the colour Atlas of Fruit of the Middle Volga,
with photos by Ivanov-Alliluyev.
188
1908
.
19261927 .
1928
- ();
10 .
1948 .

1884 .
1897 .
1905 ,
.
1901 .
1905 .
1910 .
1912 .
19121918 ;
19181931 - ,
.
1918 .
1924 .
1928
10 .
- (),
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19221935
, , -, , ,
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1935 .
1939
.
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1960 .

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1922 .
19221930
, ,
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1920- ()
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1926 ,
.
19281930
, , .
19181920 served in the Red Army as a photographer

at the headquarters of the Urals command.
1920 moved to Moscow and joined the Russian Photographic Society.
From 1923 for over twenty years worked as photographer at various Soviet
cinema studios, i.e. Mezhrabpomfilm, Lenfilm, Mosfilm and others.
From 1930s wrote reviews for Soviet Photo magazine.
1971 published his book Photography of Landscape.
Bendel Emil Sigizmundovich
1900s owned a photo studio on Kuznetsky Most in Moscow.
Member of the Russian Photographic Society.
1908 the Bendel Photo Studio was awarded bronze medal
at the International Photo Exhibition in Moscow.
19261927 contributed to the Photographer magazine.
1928 headed the cultural commission of the All-Russian Society
of Professional Photographers; participated in the exhibition
Soviet Photography Over 10 Years.
lepikov Piotr Vladimirovich
1884 born into a peasant family.
1897 worked as a boy in a store in Archangel. Until 1905 successively
employed as a salesman, clerk and accountant.
1901 took up photography.
1905 enlisted for military service.
1910 graduated from the Chuguyev Infantry School.
1912 graduated from the Sevastopol Flying School.
19121918 served as pilot in the army;
19181931 served in the Red Army Air Force, practising aerial
photography.
1918 took up art photography.
1924 issued his book Notes on Aerial Photography.
1928 member of the board and jury of the exhibition
Soviet Photography Over 10 years. Worked on editorial board
of the Photographer magazine issued by the All-Russian Society
of Professional Photographers, contributing numerous articles to it.
19221935 took part in many exhibitions in the USSR and abroad,
including London, New York, Batavia, Paris, Turin, Toronto, Zaragoza,
Stockholm, Pittsburgh, Vienna, Tokyo and Warsaw.
1935 worked in the Photo Department of Intourist.
1939 published his books Positive Processes and Positive Processes
with Chromium Salts.
1940s1950s employed by the State Shchusev Museum of Architecture.
Ulitin, Vassily Ivanovich
1888 born in Serpuhov. In childhood he developed an interest in art
and photography.
189
1931
( - );
,

, .
.
1934 .
1935 .
1930- , ;
.
1976 .

1891
.
19111914 ,
.
1916 ,
, ,
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;
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1924 : ,
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19261928 : ,
, ,
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1929 . .
.
1930 .
1932 ,
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1933
- ;
.
19331940 . 20
, 10 ,
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.
1935
.
1905 graduation from a business school in Moscow.

1907 graduation from the Chemical-Technological School in Kostroma
as a colourist.
1909 work in the zinc-graphics department at I. Sitin's publishing house.
1911 began to work at Karl Fisher's photo studio, specialising
as a portraitist. He mastered difficult printing techniques: bromine,
pigment, gummy Arabic.
1919 photograph of the School for Armoured Cars.
From 1922 work as a portraitist.
19221930 participated in large-scale international photo exhibitions.
He received medals and awards in Paris, London, Berlin, LA, Toronto,
Tokyo, Bogota, Rome.
1920s member of the board of the Russian Photography Society
and the All-Russian Society of Photographers.
1926 participated in the founding of the magazine Photograph.
Member of the editorial board.
19281930 taught Basics of Mastery at trade union photo-clubs
for chemists, metallurgists, and tradesmen.
1931 organised the first photo-school at the Moscow Cooperative-Trade
Union. He began to teach photography at the Moscow Institute of Polygraphy,
where he developed the technique of three-colour positive printing, and other
complex methods of printing. Taught courses on Zinc Graphics and PhotoComposition. From 1934, lecturer at the Moscow Institute of Polygraphy.
1935 participation in the exhibition Masters of Soviet Photography.
late 1930s Arrest. He served time in labour camps and was then sent
to Balahna.
Rodchenko, Alexander Mikhailovich
1891 born in St. Petersburg. His father a theatre-props maker, his
mother a laundress.
19111914 studied at the Kazan Art School, where he met his future
wife Varvara Stepanova.
1916 move to Moscow. Participation in Moscow avantgarde exhibitions.
He enrolled at the Stroganoff Art School. He is called up to the army.
1917 one of the organizers of the Union of Artists.
19181922 worked for the fine-arts department of the Peoples
Commissary for Public education as head of the Office for Museums and
as a member of the Art Collegiate. Development of a series of abstractgeometric designs.
19201924 member of Institute for Artistic Culture; co-founder of the
first Constructivist group.
19201930 professor at the College of Fine Arts. From 1922 dean
of metallurgical faculty.
1922 designed the credits for Dziga Vertovs Kinopravda. Work for
Alexey Gans Kino-Foto magazine.
from 1923 member of the group for art and literature LEF. Cover
designs for the magazines LEF and New LEF. Work in advertising with
V.Mayakovsky. Illustrations in the manner of photo-montage for
Mayakovskys poem About This. Work as a graphic designer.
190
19351941 ,
, , .
19411942 ;
.
19431950- .
,
( ), XXV , 5
( ), ..
( ).
1954 (
) 1951 .
1956 .
1924 began to photograph: portraits, perspective views of buildings .

19261928 work in film. He designed furniture, decorations and costumes
for the films Moscow in October, The Journalist, Doll with Millions.
Editor of the Photo in Film section of the magazine Soviet Film. Wrote
articles about experimental photography for the New LEF magazine.
19291930 co-foundeer of the photo-section of the October group.
Work for the magazines Daiesh, Red Student.
1929 designed the plays Klop at the Meyerhold Theatre and Inga
at the Theatre of the Revolution.
1930 lectures on photography at the Institute of Polygraphy.
1932 photo-correspondent for Izogi, where he published a series
of views of Moscow.
1933 photo-correspondent for the construction of the Belomor-Baltic
Canal.The photographs were used in the magazine USSR under
Construction and the album Belomosstroi.
19331940 Together with V. Stepanova, he designed 20 editions
of the magazine USSR Under Construction, the photo-album 10 Years
of Uzbekistan, Moscow Rebuilt, The First Cavalry, Red Army,
Soviet Aviation, etc.
1935 artist and participant in Masters of Soviet Photography exhibition.
19351941 created a documentary series on the sports parade on Red
Square, the theatre, and the circus.
19411942 evacuated; work in the Ocherskaya Studio for agit-posters.
19431950 Together with V. Stepanova, he designed exhibitions
for Mosinformbureau, the photo albums From Moscow to Stalingrad
(unpublished), 25 Years of Kazakhstan, Central Museum of V.I. Lenin,
5 Years of Labour Reserves (gift edition), and Moscow(unpublished).
1954 reinstated as a member of the Moscow Department of Soviet
Artists, after expulsion in 1951.
Circolo Queriniano
Comune di Venezia
Fondazione di Venezia
Regione del Veneto
Ministero per i Beni e le Attivit Culturali
Fondazione ENI Enrico Mattei
Consorzio Venezia Nuova
BNL Banca Nazionale del Lavoro
The University of Warwick
Provincia di Venezia
FURLA S.p.a.
Autorit Portuale di Venezia
Azienda di Promozione Turistica di Venezia
Consiglio dellOrdine degli Avvocati di Venezia
European Academy For the Arts & Accademia Italiana delle Arti di
Londra
Cantiere Navale De Poli S.p.a.
CARISBO S.p.a.
CARIVE S.p.a
COMPAGNIA di San Paolo
CO.VE.DI S.r.l.
ICCEM S.r.l.
INSULA S.p.a.
Joint S.r.l.
Lorenzo Rubelli S.p.a.
Parco Scientifico e Tecnologico VEGA
S.A.C.R.A. S.r.l.
Save Italian Art
SIPCAM S.p.a.
Tosetto - Fine Art Transport
Veneziafiere S.r.l.
Fondazione Scientifica
Querini Stampalia
Onlus
Consiglio di Presidenza
Presidente
Marino Cortese
Vice presidente
Ignazio Musu
Consiglieri
Davide Croff
Antonio Foscari
Domenico Siniscalco
Giuseppe Suppiej
Francesco Valcanover
Revisori dei conti

Roberto Parro
Giancarlo Tomasin
Ente tutore
Istituto Veneto di Scienze
Lettere ed Arti
Leopoldo Mazzarolli, Presidente
Direttore
Chiara Rabitti
Marigusta Lazzari
Federico Acerboni
Cristina Celegon
Antonio Fancello
Babet Trevisan
Andrea Bellemo
Gabriella Berardi
Tiziana Bottecchia
Lucia Marina Broccato
Marcellino Busato
Barbara Colli
Elisabetta Dal Carlo
Francesco Dilibra
Massimo Donaggio
Neda Furlan
Angelo Mini
Angela Munari
Barbara Poli
Barbara Rossi
Marta Savaris
Anna Francesca Valcanover
Federica Benedetti
Chiara Bertola
Sara Bossi
Alessandra Breda
Dora De Diana
Alvise Rabitti
Giovanni Rosa
Onorato Zustovi
Elena Bentini
Claudia Brisotto
Annamaria Colonna
Elisa Cucco
Elisabetta Favaretto
Marco Peri
Giorgia Pin

Quiet Resistance - Russian Pictorialism 1900-1930s (Photography Art Ebook)

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Quiet Resistance - Russian Pictorialism 1900-1930s (Photography Art Ebook)

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.

This catalogue is published to accompany the exhibition

Curator: Olga Sviblova

Compiled and edited by Elena Misalandi

Multimedia Complex of Actual Arts, GUK, Moscow,

All rights reserved. No part of this book may be reproduced

119034, Moscow, Ostozhenka St., 16

We thank the following lenders to the exhibition:

Photo on front cover: Alexander Grinberg. Study of Movement. 1926

Russian Pictorialism of the 1900s1930s

ussian photographic Avant-Garde of the 1920s and

The masters of Russian pictorial photography, Alexander

azine observed that whatever their political convictions, the

secretly printed his favourite photos in small format. Any of them

Sovetskoie foto, No. 1, 1926, p. 27

P. Bliakhin, Sovetskoie fotoiskusstvo peredovoie v mire, Sovetskoie foto,

In the late 1930s Soviet photography, like Soviet art as a whole,

A. Rodchenko, Opyty budushchego ( Experiences of the Future),

Girls with Albums.

At the Fireplace. 1900

Having a Stroll. 1898

Interesting Letter. 1898

Portrait of .D. Voronets-ntvid. 1908

Vagrant Russia. 1910s

Off to Get Some Food. 19071908

Gelatine silver print, sepia

Black gum arabic

Widows Thoughts. 19071908

Visit to Granny. 19071908

Old Mans Delight. 19071908

Gelatine silver print

Gelatine silver print

Gelatine silver print of 1909 1910

Landscape. Late 1920s

Winter Landscape. Late 1910s

Moscow. Late 1910s

Over the Pond. 1900s

Portrait of a Man. 1917

St. Petersburg. 1912

Fedor Chaliapin in the Title Role

Fedor Chaliapin as the Miller in the opera Rusalka

Fedor Chaliapin in the Title Role of the Opera

Fedor Chaliapin in the Title Role of the Opera

Fedor Chaliapin in the Title Role

Shadows on Snow. 1926

Summer Sun. 1926

Stairs. Kuchino. Russian Country Houses Series. 1920s

Parting Day. 1923

Oriental Dance. Ballet Dancer Maria Peschanaya. 1926

Oriental Dance. 1926

Maria Peschanaya. Vera Mayas Studio. 1926

Sitting Girl. 1928

Portrait of an Actress. 1920

Study of Movement. 1925

Trio Castelio. 1924

Study of Movement. 1928

Study of Movement. Group. 1928

Nina Vassilyeva from Vera Mayas Studio. 1923

Study of Movement. 19261928

Nude with Umbrella. 1926

Nude with a Ball. 1930

Gelatine silver toned print

Gelatine silver print, sepia