Alexandra Exter e il Teatro da camera, Museo d’arte moderna e contemporanea di Trento e Rovereto, Rovereto, 8 March – 8 May 1991 → Alexandra Exter, Château de Tours, Tours, 31 January – 24 March 2009. Dec 3, 2016–Mar 12, 2017
As a consequence, hundreds of fakes have appeared on the market in recent years, and virtually all of the recent monographs on Exter were published for the sole purpose of making such fakes appear to be authentic.http://www.amazon.com/gp/product/3935298064/?tag=prabook0b-20http://www.amazon.com/gp/product/B000ORGN78/?tag=prabook0b-20(Exhibition catalogue for an exhibition held at the Lincol...)
During the past few decades her reputation has increased dramatically, as have the prices of her works.
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France That year she collaborated with the filmmaker Yakov Protazanov on what is considered to be Russia’s first science fiction film, Aelita, and a year later she helped set up the Soviet pavilion at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris (International Exposition of Modern Industrial and Decorative Arts). As a designer she leaned on her experience in easel painting.Exter’s teaching activities gave still another dimension to her artistic career.
She designed avant-garde clothes, provided the decor for public celebrations and exhibition pavilions, etc. ,
In 1925—30 she lectured on the theatre art and stage design at the Académie des Arts Modernes, founded by Léger.In Paris she continued to work on maquettes for the stage, designed ballets choreographed by Bronislava Nijinska and Elsa Krüger, produced a set of fascinating marionettes for a film, and engaged in book illustration.Among the first to study Exter’s work was Yakov Tugendkhold, the outstanding Russian and Soviet art critic. helpful non helpful. In 1916 Exter drew on her experiments with Cubist painting to design innovative three-dimensional stage sets that were based on simple geometric forms for Thamira Kythared (a play by Innokenty Annensky staged by Alexander Tairov). src="" alt="" class="gallery-slider__content__img" height=""
Her sets provided an emotionally and plastically unique background for every play. Her finest theatre projects — Wilde’s Salomé and Shakespeare’s Romeo and Juliet—were for Tairov productions at the Moscow Kamerny (Chamber) Theatre.
In Paris, Aleksandra Ekster was a personal friend of Pablo Picasso and Georges Braque, and many other famous artists. data-src="/web/show-photo.jpg?id=1877165&cache=false" Her spectacular, dynamic sets became an integral part of the performance because they brought out the stage director’s ideas and the performers’ acting style. In Amazons of the Avant-Garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova the work o six legendary Russian women artists is poignantly explored, offering a refreshing look at this important period of art. She went on to organize a series of increasingly radical exhibitions, and her own work also became progressively more avant-garde.
Initially, she painted cityscapes, and she then moved on to abstraction of geometrical forms, still-lifes (such as Vase and Assortment of Fruit, 1914), and more complicated, almost abstract, cityscapes (such as Venice and City at Night, both 1915). Once logged in, you can add biography in the databaseIn 1908, Ekster began exhibiting her works, first in Kiev and then in St. Petersburg in the “Exhibition of New Currents.” That same year, together with David Burlyuk, Mikhail Larionov, and Natalya Goncharova, she organized an exhibition with Impressionistic leanings called “Zveno” (“Link”). 6 other works identified
1 other work identified Her brief period of study at the Académie de la Grande-Chaumière ended when she was expelled for not following the academy’s artistic direction.In 1908, Ekster began exhibiting her works, first in Kiev and then in St. Petersburg in the “Exhibition of New Currents.” That same year, together with David Burlyuk, Mikhail Larionov, and Natalya Goncharova, she organized an exhibition with Impressionistic leanings called “Zveno” (“Link”).
Alexandra Exter, Construction (1922-23), oil on canvas, 35-1/8″ x 35-3/8″, courtesy The Museum of Modern Art, The Riklis Collection of McCrory Collection A loss of vigor continues in the galleries dedicated to “Space,” an exploration of the relationship between color and architecture that constitutes the exhibition’s finale. 14 other works identified In 1914, Ekster participated in the Salon des Indépendants exhibitions in Paris, together with Kazimir Malevich, Alexander Archipenko, Vadym Meller, Sonia Delaunay-Terk and other French and Russian artists. Her set designs for the plays Tairov directed became classic; the most renowned of these were Innokenty Annensky’s tragedy Famira-Kifared (1916) and Oscar Wilde’s Salomé (1917).