Anton Mikhailovich Lavinsky : Original Plater Of A Cubist Woman, C.1920
SAINT-OUEN-SUR-SEINE, France
£7,649 per item
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Item details
Height
27.0 cm
Width
33.0 cm
Depth
23.0 cm
Wear conditions
Good
Wear conditions
Excellent
Shows little to no signs of wear and tear.
Good
May show slight traces of use in keeping with age. Most vintage and antique items fit into this condition.
Average
Likely to show signs of some light scratching and ageing but still remains in a fair condition.
Apparent Wear and Tear
Visible signs of previous use including scratches, chips or stains.
Please refer to condition report, images or make a seller enquiry for additional information.
Description
Anton Mikhailovich LAVINSKY (1893-1968) : "Cubist woman seating"
Original plaster, unique piece
Russia, circa 1925
Dimensions
Height = 27 cm
Width = 33 cm
Depth = 23 cm
Anton Mikhailovich LAVINSKY (1893-1968)
Sculptor, architect, designer and graphist
Born into a family of customs employees of the protection of the sea, he graduated from the architecture branch of the Baku Technical College (1913). In 1913 he moved to St. Petersburg. As a student, he attended courses in Л. В. Шервуда at the Department of Sculpture of the Higher School of Art of Painting, and of Sculpture and Architecture of the Imperial Academy of Arts. He did his military service from 1915 to 1917. He studied at the State Free Art Studios, and at the School of Contemporary Art(1918).
He participated in the implementation of the monumental propaganda plan, under which the monument of the Red Village was executed. In 1919 he created the project of the October Revolution Monument (co-author with В. А. Синайским). In 1919 he was sent to Saratov to teach in free art workshops. Member of the "Society of Art Nouveau Artists".
In 1920 he moved to Moscow where he worked on "Windows of satire GROWTH". He became one of the first masters of poster mosaic. He produced many movie posters, advertisements, and book covers. He is the author of the very famous poster of the film "The Battleship Potemkin".
After the 1917 Revolution, a new artistic era was decreed in Russia: "constructivism", an aesthetic using industrial techniques and the geometrization of space. Many "futurist" artists rushed into the breach; the Fine Arts education system was turned upside down. Anton Lavinsky was one of the first reformers.
Lavinsky was probably ill-suited to the time: an idealist, he abandoned sculpture, started working with wood, made theatre sets and posters, and then returned to architecture, his original profession. But as soon as a handful of students refuse to study with this "stool maker", he loses all interest in the discipline and creates little more than newsstands, platforms for parades...
However, his sculptures reveal an authentic, private, assertive character. Created in an intimate setting, Lavinsky's sculptures depict women and couples: the only preserved domain in a world of the 1920s that was already very Orwellian. It did not remain so for long: the new ideal of the free couple, promoted in the Soviet Union, was pushed to a climax in the story between Lavinsky and Mayakovsky, with whom he worked as an illustrator and decorator.
At the time, Mayakovsky was living with Ossip and Lilia Brik: the latter was unable to have children, so it was Lavinsky's wife who gave birth to Mayakovsky's son... Was this enough to push Lavinsky to destroy, a few years later, sculptures that had become incongruous?
After a trip to Cologne in 1928 to direct, with El Lissitsky, the realization of the Soviet pavilion for a major exhibition on the press, Lavinsky never left the USSR again. He survived the end of Cubism, Futurist magazines and workshops, and then Mayakovsky's suicide in 1930. Living on state commissions, he remained in Moscow until his death in 1968. All his archives have been thrown away and are unfortunately lost.
His work is, however, represented in several public collections, such as that of the National Library of Russia.
Condition report:
Fair
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Cancellations and Returns
Last updated: 24th March 2025
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