The sculptor Anton Lavinsky, USSR 1924
ALEXANDER RODCHENKO (1891–1956)
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As a key figure of the Russian avant-garde and Russian constructivism, Alexander Rodchenko took an active part in the in the artistic discourse of the time and joined the Left Front of the Arts (LEF). The sculptor Anton Lavinsky was also member of this association as well as part of the intellectual circle around Rodchenko. Rodchenko’s studio was the meeting place for the LEF and numerous portraits of its members, such as the one of Lavinsky, where shot there between 1924–1928. In these spontaneous portraits, Rodchenko tried to avoid the mannered and sterile feel of the classic photo studios at the time, which enabled him to depict the momentum of this new intellectual movement and its protagonists.
PROVENANCE Acquired directly from the Estate of Alexander Rodchenko, Howard Schickler Fine Art, New York
LITERATURE Alexander Lavrentiev, Rodchenko Photography 1924–1954, Cologne 1995, p. 87; Evelyn Weiss, Rodschenko. Fotografien 1920–1938, Cologne 1978, p. 127
Vintage silver print, contact print, 8.7 x 11.5 cm
Photographer’s stamp on the reverse, the front showing Rodchenko’s crop marks
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Starting price: 5,000 € / Estimate: 8,000–10,000 €
ALEXANDER RODCHENKO (1891–1956) The sculptor Anton Lavinsky, USSR 1924
zurück
weiter
Starting price: 5,000 €
Estimate: 8,000–10,000 €
Vintage silver print, contact print, 8.7 x 11.5 cm
Photographer’s stamp on the reverse, the front showing Rodchenko’s crop marks
As a key figure of the Russian avant-garde and Russian constructivism, Alexander Rodchenko took an active part in the in the artistic discourse of the time and joined the Left Front of the Arts (LEF). The sculptor Anton Lavinsky was also member of this association as well as part of the intellectual circle around Rodchenko. Rodchenko’s studio was the meeting place for the LEF and numerous portraits of its members, such as the one of Lavinsky, where shot there between 1924–1928. In these spontaneous portraits, Rodchenko tried to avoid the mannered and sterile feel of the classic photo studios at the time, which enabled him to depict the momentum of this new intellectual movement and its protagonists.
PROVENANCE Acquired directly from the Estate of Alexander Rodchenko, Howard Schickler Fine Art, New York
LITERATURE Alexander Lavrentiev, Rodchenko Photography 1924–1954, Cologne 1995, p. 87; Evelyn Weiss, Rodschenko. Fotografien 1920–1938, Cologne 1978, p. 127