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Vjera Biller and the International Avant-garde in the 1910s and 1920s − at the Crossroads between MA, Der Sturm and Zenit / Magaš Bilandžić, Lovorka.

By: Magaš Bilandžić, Lovorka.
Material type: ArticleArticleDescription: str.Other title: Vjera Biller and the International Avant-garde in the 1910s and 1920s − at the Crossroads between MA, Der Sturm and Zenit [Naslov na engleskom:].Subject(s): 6.05 | Vjera Biller; avant-garde; print; Zenit; Ma; Der Sturm | Vjera Biller; avant-garde; print; Zenit; Ma; Der Sturm In: Symposium "Collaborative Artist Networks in the Twentieth Century and Beyond"Summary: During the interwar period artist Vjera Biller participated in some of the most interesting events that were happening all across Europe. She presented her work for the first time as a teenager in 1918 in Budapest at the "MA exhibition of graphic art" together with the leading protagonists of Hungarian avant-garde. While living in Berlin in the early 1920s she was close to the circle of Herwarth Walden and participated in several exhibitions in his Der Sturm gallery. During the 1920s and 1930s she exchanged letters with Ljubomir Micić, the editor of the avant-garde magazine "Zenit", who exhibited and published her work (1924, 1926). Although today the majority of her oeuvre is lost and only a small number of prints and drawings from the 1920s have been preserved, it reveals Vjera Biller's interests, artistic sensibility for stylization of form and a special type of visual narration. The paper will consider the work of Vjera Biller in the context of the international avant-garde movement and as an example of networking principle that marked the most progressive art currents of the period.
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During the interwar period artist Vjera Biller participated in some of the most interesting events that were happening all across Europe. She presented her work for the first time as a teenager in 1918 in Budapest at the "MA exhibition of graphic art" together with the leading protagonists of Hungarian avant-garde. While living in Berlin in the early 1920s she was close to the circle of Herwarth Walden and participated in several exhibitions in his Der Sturm gallery. During the 1920s and 1930s she exchanged letters with Ljubomir Micić, the editor of the avant-garde magazine "Zenit", who exhibited and published her work (1924, 1926). Although today the majority of her oeuvre is lost and only a small number of prints and drawings from the 1920s have been preserved, it reveals Vjera Biller's interests, artistic sensibility for stylization of form and a special type of visual narration. The paper will consider the work of Vjera Biller in the context of the international avant-garde movement and as an example of networking principle that marked the most progressive art currents of the period.

Projekt MZOS projekt

ENG

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