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Sketch for the costume of the Queen of Mars to the film "Aelita" by Alexei Tolstoy's novel
Alexandra Exter • Graphics, 1924, 68×46 cm
Description of the artwork «Sketch for the costume of the Queen of Mars to the film "Aelita" by Alexei Tolstoy's novel»
Sketch costume Aelita along with a series of theatrical sketches collector Nikita Lobanov-Rostovsky has acquired the heir and pupil of the artist Simon lissima at the price of 30 dollars for the work in installments in two years. Today each sketch is estimated at 100-150 thousand dollars, and the picture of Alexandra Exter sold for millions of dollars (in particular, "Beach picnic" in 2006, Christie's auction went for $ 1.3 million).
Alexandra Exter bequeathed most of his works Lissima is a Russian Jew (Semyon Mikhailovich Lissy), familiar to the artist back in Kiev. In Paris he studied her. Before the occupation of France Lissy emigrated to the United States, and the transfer of it helped Alexandra Exter to survive in the war years. After receiving the inheritance, Simon Lissy has done a great deal to the picture Exter took its place in museums around the world. Some of the works he just donated to museums or given for nothing – in order to Shine in the beginning of the century the artist remembered again.
On paper, the costumes for "Aelita" directed by Yakov Protazanov seemed silly, but on the screen they boggle the imagination. Accustomed to working in theatre, she was forced to get rid of the barrier between spectator and actor, created by the curtain. This helped the dynamism of cinema. She created the costumes seem to be the epitome of the movement, they are impossible to represent in static. For Alexandra Exter, who set the corner-color challenge to make the costumes black and white film seemed especially difficult. It was the introduction of the movement in the costumes allowed her to decide.
The film double love line unembellished Soviet reality, the search for the ideal, in other worlds, finding love and willingness for her to cross the space, with the impossibility of happiness, even at a distance of many light years – is the creation of the spatial and temporal tunnel, aspiration "from here to there", which is skillfully embodied in their costumes of Alexandra Exter.
Asymmetrical costume Aelita is a movement in pure form, bears a clear echo of the other, unusual way. In this dress you can move, but for the rest it is not exactly meant with him and the heroine might never meet. Like lightning, flashes of Aelita in the life of a Soviet engineer, and will disappear along with awakening him from his slumber.
At the Venice Biennale in 1924, Alexandra Exter brought including the costumes for the film, and they were a resounding success. In the USSR, the artist never came back, remaining after the Biennale in Europe, although officially an immigrant, too, died, and lived all his life with a Soviet passport.
Author: Alain Esaulova
Alexandra Exter bequeathed most of his works Lissima is a Russian Jew (Semyon Mikhailovich Lissy), familiar to the artist back in Kiev. In Paris he studied her. Before the occupation of France Lissy emigrated to the United States, and the transfer of it helped Alexandra Exter to survive in the war years. After receiving the inheritance, Simon Lissy has done a great deal to the picture Exter took its place in museums around the world. Some of the works he just donated to museums or given for nothing – in order to Shine in the beginning of the century the artist remembered again.
On paper, the costumes for "Aelita" directed by Yakov Protazanov seemed silly, but on the screen they boggle the imagination. Accustomed to working in theatre, she was forced to get rid of the barrier between spectator and actor, created by the curtain. This helped the dynamism of cinema. She created the costumes seem to be the epitome of the movement, they are impossible to represent in static. For Alexandra Exter, who set the corner-color challenge to make the costumes black and white film seemed especially difficult. It was the introduction of the movement in the costumes allowed her to decide.
The film double love line unembellished Soviet reality, the search for the ideal, in other worlds, finding love and willingness for her to cross the space, with the impossibility of happiness, even at a distance of many light years – is the creation of the spatial and temporal tunnel, aspiration "from here to there", which is skillfully embodied in their costumes of Alexandra Exter.
Asymmetrical costume Aelita is a movement in pure form, bears a clear echo of the other, unusual way. In this dress you can move, but for the rest it is not exactly meant with him and the heroine might never meet. Like lightning, flashes of Aelita in the life of a Soviet engineer, and will disappear along with awakening him from his slumber.
At the Venice Biennale in 1924, Alexandra Exter brought including the costumes for the film, and they were a resounding success. In the USSR, the artist never came back, remaining after the Biennale in Europe, although officially an immigrant, too, died, and lived all his life with a Soviet passport.
Author: Alain Esaulova
