SELECTED BIBLIOGRAPHY
There
today, a proliferation of on the Russian avant-garde, a subject which has attracted a great deal of attention since the end of the sixties, is,
literature
and knowledge of which has been enriched especially in the years 19721981.
1.
GENERAL WORKS
still
in
numerous
offers the
most
details, this
book
lively introduction to
the subject. V. Markov, Russian Futurism:
have
Russian avantgarde. Some catalogues issued then offer valuable documentation. The rich catalogue of the XVth Exhibition of the to the
European Council, Tendenzen der Zwanziger Jahre Berlin 1977, presents
objectif russe et polonais. Paris, 1981.
A
text
History,
Transedition,
which synthethizes
the evolution of Russian non-objective art until the end of the thirties, including its reflections and confrontations outside of Russia (the Ukraine, Poland, Germany). C. Lodder, Russian Constructivism, Yale University Press, London, 1983. This work brings together in one volume a Soviet and Western documentation,
from 1918
dispersed up
to
now
the best synthesis of the subject, mostly within a confrontation with Western abstract art and the other innovating currents of European art (Dada, Surrealism, etc.) While being drawn into the confusions of styles and tendencies, the Paris-Moscow catalogue, Centre
Georges Pompidou, Paris
A
Berkeley and Los Angeles, 1968. Fundamental work, with an excellent documentation. A. Nakov, Abstrait/Concret. Art non-
in different
specialised sources, without however proposing a differentiation of themes and subjects.
Since the memorable Berlin exhibition Ost-Europa Avant-garde (Akademie der
108 109
been devoted
,
C. Gray, The Great Experiment: Russian Art 1893-1922, London-New York, 1962. Outdated on certain points and
corrected
Kiinste, 1967), several exhibitions
1979,
provides
a very useful documentation.
Stephanie Baron and Maurice Tuchman,
The Avant-Garde
in Russia, 1910-1930:
New Perspectives,
exhibition catalogue Los Angeles County Museum of Art, Los Angeles, 1980. This publication, very popular in the U.S.A., contains factual lacunas and several misleading attributions to be used with precaution by the uninformed reader. Also worthy of consultation are the bilingual catalogues (German-English) of the Gallery Gmurzynska of Cologne: Von der Flasche zum Raum, 1974; Die Kunstismen im Russland, 1977; Kunstlerinnen der russischen AvantGarde, 1979 and Von der Malerei zum Design, 1981, as well as those of the Annely Juda Gallery, London (also bilingual French-English): Russian Pioneers, 1976; The Suprematist Straight Line, 1977; The First Russian Show, 1983;