Sovetskoe Foto (6 results)

Softcover. Condition: Befriedigend. Dust Jacket Condition: Ausreichend. 1. Auflage. Nr. 4 1973.

S. 327-363, 1 Bl. Mit zahlr. fotogr. Abb. 8°, Orig.-Broschur. Bll. etwas fleckig. 1 Bl. mit schwachen Notizen, sonst gut erhaltenes Exemplar. gr.

Paperback. Condition: Brand New. 264 pages. Russian language. 8.66x5.91x0.60 inches. In Stock.

Brosch. Gr.8°, S. 289 - 333, 14 Tafeln, einige Abb., Diagramme, 1 Bl. Anzeigen. Umschlag etw. unsauber, Hinterdeckel etw. klammerrostig, etw. eckknittrig. Auf dem Vorderdeckel die Abbildung nach einer Fotografie von R. Treger, diejenigen auf den Tafeln von A. Shaikhem (deren 2), S. Yasinsky, E. Mikulina, V. Chemko, Yu. Eremin, P. Novitzki, A. Wamson [?], R. Karmen, M. Alpert, A[lexander] Rodtschenko: «Steklo i swet [Glas und Licht]»; deren 3 sind nicht gezeichnet.

Couverture souple. Condition: Bon. Moscou, 1932. Un fascicule au format 201X295mm, 24 pages. Couverture illustrée d'une composition typographique en noir et brun. Un article intitulé « Sovetskoe foto » illustré d'une photo d'Alexandre RODTCHENKO : « Pionnier jouant de la trompette ». Deux tampons, une référence à l'encre sur la couverture : voir les 5 photos. (Avant garde russe, russian avant garde).

This is the legendary issue No. 10 (October 1927) of Sovetskoe Foto, the influential Soviet photographic journal, featuring a cover photograph by Alexander Rodchenko, one of the leading figures of the Russian avant-garde and a central protagonist of Constructivism. The legendary photograph "Mother" on the cover has entered the history of world art photography as one of the key works of the photographic avant-garde. Sovetskoe Foto was established in the 1920s as the principal specialist publication devoted to photography in the Soviet Union. It functioned both as a professional forum and as an ideological platform for the development of a new visual language aligned with revolutionary culture. The journal published theoretical essays, technical discussions, and experimental photographic works, actively promoting photography as a modern, socially engaged medium rather than a purely documentary or pictorial art form. It played a key role in shaping Soviet visual culture during the formative post-revolutionary years, when photography was being redefined in accordance with new political and artistic ideals. The 1920s issues of Sovetskoe Foto are particularly significant for their close association with Constructivist aesthetics, a movement that sought to integrate art, technology, and everyday life into a unified revolutionary practice. Within this context, photography was understood as a tool of construction rather than representation, emphasising structure, geometry, dynamic composition, and the radical reorganisation of visual space. Alexander Rodchenko was one of the most important contributors to this transformation. Originally trained as a painter, he soon moved into photography, graphic design, and photomontage, becoming one of the defining visual innovators of the Soviet avant-garde. His work is characterised by extreme angles, dramatic foreshortening, diagonal compositions, and an uncompromising rejection of traditional perspective. For Rodchenko, photography was not a passive recording device but an active instrument for restructuring perception itself. His collaboration with publications such as Sovetskoe Foto helped establish a new photographic language that became synonymous with Constructivist visual culture. The connection between Rodchenko and Sovetskoe Foto reflects the broader integration of avant-garde artists into Soviet publishing and propaganda systems during the 1920s. The journal functioned as a key site where theory and practice converged, and where Constructivist ideas were disseminated to a wider professional audience of photographers, designers, and cultural workers. In this sense, the publication occupies an important place in the history of modern photography, not only in the Soviet context but internationally, as one of the earliest platforms to articulate photography as an autonomous modernist discipline. Constructivism itself, as expressed through the pages of Sovetskoe Foto and the work of Alexander Rodchenko, represents one of the most radical redefinitions of visual culture in the 20th century. Its emphasis on abstraction, industrial aesthetics, and the fusion of art with social purpose had a lasting impact on graphic design, photography, and visual communication worldwide, influencing later developments in modernist and documentary traditions. This issue is considered a collectible rarity, as the print run was only 14,000 copies. Moreover, Alexander Rodchenko's contributions to the journal were soon criticised in the post-publication period for "formalism," reflecting the growing ideological shift in Soviet cultural policy at the end of the 1920s, when avant-garde experimentation began to come under increasing scrutiny. Very good condition. Page 310 with a few words highlighted in marker. No restoration interventions. Rusted staples, occasional light stains, spine tear, overall in good condition.