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To the cinema, comrades: The revolutionary age of Soviet film posters

I found these amazing posters from the Soviet era on the BBC.  Click on the link at the bottom to read more.

Inspired by the 1917 Revolution, Russians decided that art had an important role to play in the future of the Soviet Union. The visual arts in particular entered an experimental, avant-garde era, where even the design of film posters reached new heights.

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Art as collective

After the 1917 Revolution, art had a new official status in the Soviet Union as a positive force for shaping the future of the young State. The new structures and attitudes brought about by the Bolshevik Revolution encouraged artists to experiment in multiple fields.

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And, as a socially important force and a propaganda tool, cinema’s growth was encouraged throughout the Soviet Union after it had been nationalised by Lenin in 1919.

Constructivism, comrades!

Constructivism was a new direction in art that was heavily influenced by technology, and featured experimentation with geometry and photomontage. Well-known as the go-to look for propaganda posters, but also used in advertising for beer and food, it would become a big part of Soviet life.

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Cinema became huge in Russia in the 1920s. Foreign movies starring the likes of Charlie Chaplin, Buster Keaton, Mary Pickford and Douglas Fairbanks were especially popular.

The State Cinema Enterprise, Goskino, was set up in 1922 and renamed Sovkino in 1926. Sovkino operated four movie studios and twenty-two different production units, and also distributed all foreign films, the profits from which subsidised home-grown movies.

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Sovkino’s advertising department, Reklam Film, was responsible for designing, approving and distributing film posters throughout the Soviet Union.

Sculptors, photographers, architects and graphic designers all came together to work on the exciting new art form of film posters…….

 

More via BBC Arts – BBC Arts – To the cinema, comrades: The revolutionary age of Soviet film posters

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My Little Collection of Costa Rican Painters

Following on in my study of South American art and artists here is some formidable Costa Rican artists worth a mention.  I particularly like the work of the artist Jorge Gallardo who was a Costa Rican painter and poet. Gallardo’s works are among the most important art collections of the Government of Costa Rica as well as many individuals, both domestic and foreign. His art is an irreverent mix in which he uses an impeccable use of color, which many have considered flat and without complexities. He painted many colorful pictures displaying topics such as agriculture in Costa Rica and the working people on landscapes.

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Painting in Costa Rica began to grow in the early twentieth century with painters like; Francisco Zuñiga, Theodoric Quiros, and Francisco Amighetti.

 

 

Read the Spanish version

At the turn of the 19th century, Costa Rican art was very much associated with the social elite. It was mainly used as social and political tool, heightening statuses or emphasizing noble ancestory. The fashion at the time was to have foreign artists paint personal portraits, and so European traditions began to infiltrate Costa Rican paintings. Foreign artists such as Santiago Paramo, Henry Etheridge and Bigot started to teach Costa Rican painters new techniques. This foundation enabled Costan Rican painters to flourish. The most significant Costa Rican painters of the late nineteenth century were: Ezequiel Jimenez Rojas, Wenceslao de la Guardia and Enrique Echandi. These and other young artists were encouraged and supported by the establishment of the Escuela Nacional de Bellas Artes (National School of Arts) in 1897, which was under the charge of Tomas Povedano, a renowned Spanish painter.

Rich Colors and Beautifil Faces
Rich colors and beautiful faces © César Valverde Vega

Costa Rican painting began to flourish in the early twentieth century. The painters of the past century had had to overcome difficulties, but this enabled their successors to receive an education in Art and to enjoy a larger and more generous audience for their work. Some of the most famous Costan Rican painters from the past century include: Francisco Zúñiga, Teodorico Quiros, Francisco Amighetti and Margarita Bertheau. Their work didn’t just imitate European models, but the Costa Rican art world finally had a life of its own, free of its dependence on the elite and of the rejection from the rest.

via Painting in Costa Rica – Costa Rica Painters | don Quijote

 

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$269.6 Million Sotheby’s Impressionist and Modern Sale Led by Record-Breaking Chagall

This will be my paintings soon hehe 🙂  Watch out Sotheby’s, here I come!

Tuesday evening’s sale of Impressionist and Modern art at Sotheby’s brought in $269.6 million, a 71% rise from the prior year’s sale but well short of rival Christie’s $479 million Monday night haul.

Nearly all of the 64 works at Sotheby’s found a buyer (often in Asia), for a 92% sell-through rate by lot. But many of the works sold after just a few bids and for below their low estimates, including some of the bigger-ticket items.

“[Sotheby’s] bidding is a lot more thin than last night,” said Morgan Long, senior director at The Fine Art Group, referring to Impressionist and Modern evening sale at Christie’s on Monday. “A lot of works are being sold to their guarantors or one bid above.”

The total before the buyer’s fees, which both Sotheby’s and Christie’s increased this fall, came to $232.1 million. The result still marks a substantial rise from the $157.7 million notched in the fall of 2016 on a 42-lot sale, and suggests the market is loosening up. Both buyers and sellers are more comfortable trotting out their wallets or their merchandise and rolling the dice than they have been in the past few sales cycles…..d7hftxdivxxvm.cloudfront.net

Read on $269.6 Million Sotheby’s Impressionist and Modern Sale Led by Record-Breaking Chagall

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On Top Again

One of my favourite quotes by Jackson Pollock

“If people would just look at the paintings, I don’t think they would have any trouble enjoying them. It’s like looking at a bed of flowers, you don’t tear your hair out over what it means.”

This is so true when looking at many works of art, if you like something you just like it, if you don’t get, you just don’t get.  It’s like when you eat a sticky toffee pudding, you don’t know why but you’re just in heaven and then some people may not be.  I don’t understand those people, but that’s the way we’re all different.

Triple Trouble (4)
Triple Trouble

I’m really hitting the canvas lately, I have definitely found my creative mojo again.  I want to do it all the time and it’s great.  This is one of my latest creations and boy did I enjoy doing it, it just lets me express all my feelings in a sitting.

Anyway, I hope this spirit stays alive in me so I just keep going on.

 

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Octava.2, A Little Argentinian Poetry y Art

Argentinian art is gaining international recognition this year, notably featuring at the Venice Biennale, Documenta in Kassel and Pacific Standard Time LA/LA in southern California. On the commercial front, Argentina was the guest country at the Arco fair in Madrid in February, while Art Basel is partnering with Buenos Aires on its new Art Basel Cities initiative.

Antoniao Berni
El obrero caído (1953) by the Argentinian artist Antonio Berni

The organisers of the ArteBA fair, founded 26 years ago, hope to build on this newfound visibility on the international circuit. Fair director Julia Converti says the “pulse of artistic production and the sex appeal of Buenos Aires” is part of the international pull. “Local support is multiplying, and so are new audiences who are interested in contemporary art around the world.”

Fairgoers can expect a range of works by international and Argentinian artists, including paintings by the Argentinian figurative artist Antonio Berni (Galería Sur) and photographs by the Buenos Aires-based artist Tomás Maglione (Ruth Benzacar Galería de Arte).

More than half of the galleries at ArteBA are international this year, similar to last year, with 17 countries represented. Newcomers include Steve Turner from Los Angeles, Klemm’s from Berlin, and Galería Cayón from Madrid.

Xul Solar (2)
Xul Solar

Despite a flourishing art scene, Argentina has a relatively subdued art market thanks to a struggling economy. Figures from last year’s fair are cause for hope, however. The 2016 event drew 100,000 visitors—more than Frieze London or Art Basel in Basel—and 53 works were bought by 23 museums and organisations through the fair’s acquisition programme.

 

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Xul Solar

A little Argentinian poetry by Roberto Juarroz

OCTAVA. 2
También las palabras caen al suelo,
como pájaros repentinamente enloquecidos
por sus propios movimientos,
como objetos que pierden de pronto su equilibrio,
como hombres que tropiezan sin que existan obstáculos,
como muñecos enajenados por su rigidez.

Entonces, desde el suelo,
las proprias palabras construyen una escala,
para ascender de nuevo al discurso del hombre,
a su balbuceo
o a su frase final.

Pero hay algunas que permanecen caídas.
Y a veces uno las encuentra
en un casi larvado mimetismo,
como si supiesen que alguien va a ir a recogerlas
para construir con ellas un nuevo lenguaje,
un lenguaje hecho solamente con palabras caídas.

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With Translation by Mariolein Sabarte Belacortu
EIGHTH. 2
Words too fall to the ground,
like birds suddenly driven crazy
by their own movements,
like objects that suddenly lose their balance,
like men who stumble even when there’s no obstacle,
like dolls estranged by their own rigidity.

Then, the words themselves build a stairway
from the ground,
to climb up to human discourse,
to its stutter
or final sentence.

But some words remain forever fallen.
And sometimes we find such words
in an almost larval mimesis,
as if they knew someone were going to come
gather them up and build a new language,
a language made up entirely of fallen words.