ANTON LAVINSKY (1893-1968) [STRIKE.] 1924. 411/2x271/2 inches. Condition A-: creases in image. Mounted on Japan. The extent of Lavinsky's work precludes any encapsulated biography, as he was active in just about every area of the fine and applied arts. Within the world of graphic arts he was extremely active in the production of movie posters, participating in Moscow's first and second film exhibitions (1925 and 1926) and was one of the designers of the Rosta windows. This poster is for Sergei Eisenstein's first film. The movie was ground breaking in that it was the first time a director employed the montage-style of film making, using innovative edits and cuts to affect the audiences. The film was commissioned by the Government to commemorate the first, failed Bolshevik revolution in 1912. Lavinsky's poster is as bold and breathtaking as the movie itself. While not the debut of such photomontage constructions in Soviet posters, this early example set the standard for the excellent Soviet film posters that would follow. The montage of gears, angry workers and an outraged mouth screaming from within a frame of film is an eye-catching masterpiece. Of the three workers depicted in the poster, the one in the middle is Eisenstein himself. The success of this film opened up the way for Eisenstein to continue directing, which he did with his two follow up films in the same vein: Battleship Potemkin (1925) and October (1928).
ANTON LAVINSKY (1893-1968) [STRIKE.] 1924. 411/2x271/2 inches. Condition A-: creases in image. Mounted on Japan. The extent of Lavinsky's work precludes any encapsulated biography, as he was active in just about every area of the fine and applied arts. Within the world of graphic arts he was extremely active in the production of movie posters, participating in Moscow's first and second film exhibitions (1925 and 1926) and was one of the designers of the Rosta windows. This poster is for Sergei Eisenstein's first film. The movie was ground breaking in that it was the first time a director employed the montage-style of film making, using innovative edits and cuts to affect the audiences. The film was commissioned by the Government to commemorate the first, failed Bolshevik revolution in 1912. Lavinsky's poster is as bold and breathtaking as the movie itself. While not the debut of such photomontage constructions in Soviet posters, this early example set the standard for the excellent Soviet film posters that would follow. The montage of gears, angry workers and an outraged mouth screaming from within a frame of film is an eye-catching masterpiece. Of the three workers depicted in the poster, the one in the middle is Eisenstein himself. The success of this film opened up the way for Eisenstein to continue directing, which he did with his two follow up films in the same vein: Battleship Potemkin (1925) and October (1928).
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