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Apsit Alexander Petrovich (1880-1944)

Запись от Евгений размещена 08.10.2013 в 18:26
Обновил(-а) Евгений 02.02.2014 в 20:05

Aleksandr Petrovich Apsit (1880-1944)
 Born in 1880 in Riga.
1898-1899 Education in studio LA Dmitrieva-Caucasian in St. Petersburg . Until 1920 in St. Petersburg and Moscow.
1902-1907 Illustrations for magazines Homeland , "Star" and "Field" , the works of Russian classics, cartoons for the satirical magazine (" Zeitgeist " and others) ; posters .
1900-1910 - was a member of the Moscow Art Circle "Wednesday" .
Participated in exhibitions of "environment" in the exhibition «Blanc et Noir», exhibition of paintings by Russian artists in 1912 ( Moscow) .
1906-1917 Cooperation with Moscow's publishers Sytin I. and A. Stupin .
Performed a series of Easter cards issued by the Partnership Abrikosov and C - wei , also painted postcards on the themes of the First World War , Russian history , doing advertising and greeting cards to order.
Since 1918 one of the founders and the leading masters of the Soviet political revolutionary poster .
In 1921 in Latvia. Figures for Riga magazines.
Died in 1944 in Germany.
Artist signed his work as : A- t, Asp , A. Petrov, Osinin , Skiff .
Photo № 9,10 from the collection of antique shop Sochi .
28h23 sm.Bumaga , watercolor, podpis.1910 year. Rare twin portraits .
Here is the official biography A.P.Apsita

One of the founders of the Soviet poster art , the first involved in the case of political propaganda in revolutionary Russia . Draftsman for talent and professional education Apsit before the revolution worked in St. Petersburg popular magazines ("Motherland" , "Field" ) , including satirical . Since 1904, he linked his fate with the creative publishing I. Sytina in Moscow, which specialized in the production of publications for the people. The artist did book illustrations and covers ( in particular - to the works of Tolstoy , Maxim Gorky , Chekhov , Nikolai Leskov ) , designed calendars, drawing splints , advertisements, posters , focusing on democratic tastes of the buyer.
Pre-revolutionary posters Apsita implemented or in the spirit of popular prints ( on the First World War ) or Art Nouveau ( kinoplakaty ) .
A. Apsit belonged to the creative association « Environment» ( 1897 - 1924 ) and was one of the founders of of the Moscow Society of Artists ( 1913 - 1917 ).
Immediately after the revolution, the artist , who knew the aesthetic tastes of the people who are involved in political ( military ) propaganda, was invited to the publisher of the All- that the fall of 1918 the beginning of the first planned activity for the production of revolutionary posters . Commissioned by publishers Apsit prepared some posters , paintings on the theme of popular uprisings in Russia. They are primarily interested in the master collective image of the nation. By this way the artist kept returning and subsequent posters on the revolution .
In the compositions solemn festivities (" Year of the proletarian dictatorship" ) or incriminating ( "International" ) , multi-image and sometimes overwrought , already allocated generalized allegorical images - a revolution in the form of a young man with a torch on a white winged horse , capitalism as a hideous monster , - have found the symbols and metaphors that will be widely used in the revolutionary art , for example , the globe entwined red banner cloth (" May 1 "). Especially rich in revolutionary symbolism poster " Year of the proletarian dictatorship ," this is an important historical document of time , a landmark piece of art. It embodied the essential elements of figurative language and compositional structure of revolutionary poster : new types of protagonists - the workers and peasants , their attributes and the attributes of the defeated Labour tsarist picture light industrial future , march motif , motif of the sun , and finally , new principles of temporal and spatial solutions . In this work bears traces of the influence of book graphics and executed in a realistic manner the drawing.

Staying true to this graphic manner Apsit varied means of expression depending on the task : rastolkovyvaya and explaining the events and facts , he appealed to the principles of the multi- splint or Plural and multipart figure - these are the art forms were the most understandable to the people . But propaganda , recruiting posters artist concise and brief, allegorical images instead it introduces realistic and enlarges the figure summarizes the shape achieves dynamic composition. Tops laconic and agitation force master reached in one of his best works - " Breast to defend Petrograd ! ". Poster was born heavy military situation in autumn 1919 , when troops N. Yudenitch threatened Petrograd . In a short time , just for a day , did Apsit original lithography to replicate in one color . Danger of the situation and do not require specific calls allegorical and very recognizable images of the defenders of the capital . The artist depicted them closeup, which made it possible to strengthen the emotional start poster, and to emphasize the severity of the desperate determination of people. This also contributed to the color composition of asceticism .
Poster called, desperate cry soldier materialized in the slogan . Pencil style attached image documentary , fluent touch seemed flustered sketch made ​​from life , and build a whole likened fighters invincible wall.
Realistic convincing manner , emotional strength , effectiveness appeal put forward by the poster Apsita in classic works of propaganda art .

He has had a marked influence on the work of his contemporary poster artists and their followers.
During 1918 - 1919 years Apsit performed a large number of posters signed by various pseudonyms : Asp , A- T , A. Petrov. His activity ended abruptly : in 1919 during the onset of Denikin, he left Moscow and its traces were lost . After the end of the Civil War, they showed up in Latvia , the birthplace of the artist. There he continued to work as an illustrator and poster artist , but rise to the heights of creative takeoff 1918 - 1919 years could never be , and the revolutionary banner was the brightest page of his work and significant contribution to the history of Soviet art.
In 1939 he moved to Apsit National Socialist Germany , where he died in 1944. On the last years of his life nothing is known.
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