Millier Jean Introduction (2 results)
- Hardcover
- First Edition
Seller: Grendel Books, ABAA/ILAB, Springfield, MA, U.S.A.Grendel Books, ABAA/ILAB
Contact seller5-star sellerCondition: Used - Fine
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Hardcover. Condition: Fine. Near Fine. Text is in French and English. Duotone photographs throughout. First edition. Fine in a near fine (light edge wear) dust jacket.
Paris-Moscou 1900-1930 31 Mai - 5 Novembre 1979; arts plastiques, arts appliques et objects utilitaires, architecture-urbanisme, agitprop, affiche, theatre-ballet, litterature, musiue, cinema, photo creative
Millier, Jean (Introduction) and Hulten, Pontus, and Khaltouine, Alexandre
Published by Centre national d'art et de culture Georges Pompidou, Paris and ministere de a culture de l'urss, Moscou, Paris, 1979
- Softcover
- First Edition
Seller: Ground Zero Books, Ltd., Silver Spring, MD, U.S.A.Ground Zero Books, Ltd.
Contact seller5-star sellerCondition: Used - Very good
US$ 375.00
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Trade paperback. Condition: Very good. This work is in French. The format is approximately 8.25 inches by 11.75 inches. 580 pages. Illustrations (some in color). The exhibition looked at the development of modern art in that period in both France and Russia, and draws on Russian collections. there are many well-known and iconic…Russian and Bolshevik images, Catalog of the exhibition "Paris-Moscow" organized by the Ministry of Culture of the Soviet Union, Moscow and the Center National d'Art et de Culture Georges Pompidou, Paris. Sections: Plastic arts - Applied arts and utility objects - Architecture - Urban planning - Agitprop - Poster - Theater-ballet - Literature - Music - Cinema - Creative photo. Introduction by Jean Miller, Pontus Hulten, Alexandre Khaltourine. Illustrations color and in white and black. Biographical and Bibliographical Note. Jean Millier was Chairman of the Georges-Pompidou National Centre for Art and Culture (1977-80). Karl Gunnar Vougt Pontus Hultén (21 June 1924 26 October 2006) was a Swedish art collector and museum director. Pontus Hultén is regarded as one of the most distinguished museum professionals of the twentieth century. He was the pioneering former head of the Museum of Modern Art in Stockholm and in the 1970s he was invited to participate in the creation of the Centre Georges Pompidou in Paris, where he was the first director of the Musée National d'Art Moderne (MNAM) in 19741981. Alexandre Khaltourine was a major figure in the Soviet and Russian art worlds. In 1979 the National Museum of Modern Art, located in the Centre Pompidou in Paris, displayed one of the major exhibitions in its history: the exhibition Paris-Moscow, 1900-1930. Curated by Pontus Hulten, this exhibition aimed at showing the ways in which the French and Russian avant-gardes influenced and reacted to one another during the rise of Modern art. The exact same exhibition was presented in Moscow in 1981 in Brezhnev's USSR, during a significant rise in censorship, strictness, and political surveillance. Since the founding of the Soviet Union, no exhibition like this had ever been presented. Consequently, it raises the question: how did such a striking and innovative exhibition succeed during the Cold War? The answer is quite simple: it was a fight for freedom of artistic expression and international dialogue. The French team was eager to establish normal relationships with its Soviet colleagues and to favor exchanges between France and the USSR. Therefore, it stressed the function of art as cultural diplomacy. Was art a means to achieve peaceful relations and improved exchanges leading to more freedom when politics and economics failed? The exhibition Paris-Moscow, 1900-1930 seemed to be one striking positive example. Thanks to the discovery of new archives at the Centre Pompidou Paris, the recently published "mémoires" of Valéry Giscard d'Estaing and my own personal interviews of French ambassadors and curators in charge of the exhibit in 1979, an essay is able to shed new light on the cultural diplomatic role of Paris-Moscow, 1900-1930, a unique artistic event during the Cold War. Presumed First Grench Edition, First printing.
