Pictorialism – the direction in Russian photos of the first half of the twentieth century – as opposed to the photographic avant-garde of 1920-1930 operated with halftones and toning, portrayed mostly nudes, landscapes and scenes village life. This publication was prepared MDF, with the participation of Michael Golosovsky and the Union of Photographers of Russia. The publication includes works of Andrei Karelin, Alexei Mazurin, Nikolai Petrov, Sergei Lobovikov, Sergei Savrasov, Anatoly Trapani, Boris Eliseev, Myron Sherling, Alexander Grinberg, Yuri Eremin, Leonid Shokin, Nicholas Svischov- Paola, Nikolai Andreyev, Sergei Ivanov-Alliluev, Emil Bendel, Peter Klepikov, Vasiliy Ulitin and Alexander Rodchenko. Pictorialists tried to bring a photo to paintings (pictorial), for which they used a special soft-focus lenses and complex printing technique. The main topics of their images were landscapes, women, children, old mansions and genre scenes – for “non-Soviet” bourgeois plots and “turgenevschinu” in the late 1920s ideological propaganda calls pictorialists foes of revolutionary changes. As a result, Alexander Grinberg was sent to a camp, and Vasiliy Ulitin was evicted from Moscow.
Despite the prohibitions and persecutions, Russian pictorialists continued to make photos – and it is this resistance gave them the name of the exhibition and the album “Quiet Resistance”. Curiously, the pioneer of Soviet photography Alexander Rodchenko in 1928 had controversy with pictorialists, spoke about the “struggle with a photo for painting”, but his famous series “Circus” he made in the late 1930s, in this style. The book as a reference including biographies of photographers.
192 p., softcover
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