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Foster, Sales Man- ager; Robert Turner, Restaurant Manager; Rosemary Faella, Assistant Restaurant Manager; Darrie Hammer, Katherine W. Sutter, Building Superintendent; Charles Gazzola, Assistant Building Superinten- dent; Charles F. I therefore take great pleasure in expressing the Guggenheim's gratitude to George Costakis for joining in a friendship that we hope will endure long beyond the occasion of the current exhibition. Among them we would particularly like to thank the following individuals without whose in- valuable assistance we could not have produced the present exhibition and catalogue: Vasilii Rakitin, the Soviet art historian, pro- vided us with extensive biographical information about the artists and a checklist of many of the works in the George Costakis collection. Alexandr Vesnin revised and simplified them, but ulti- mately they were not used. From the mid-i92os, research with Matiushin and Boris and Mariia Ender on color theory. In 1923 became a member of the Museum of Painterly Culture in Petrograd and participated in its Department of Organic Culture directed by Matiushin.

Connolly, Auditor; James O'Shea, Sales Coordinator; Mark J. The collector's willingness to enter into a professional relationship with the Gug- genheim Foundation represents his response to our initiative. Guggenheim Foundation Acknowledgments Many scholars and friends have generously shared their knowledge of the Russian and Soviet field with us. 2 These latter designs were pictorially elabor- ate, and, in their original form, totally impracticable. Popova herself acknowledged the difficulty of abandoning "outmoded aesthetic habits," and also drew attention to important determining characteristics that were inherent in the play itself: "the action had a built-in visual character which prevented the consideration of an action solely as an on-going working process. New devices were extensively used in Popova's next theatrical venture, the set for Earth in Turmoil (cat. Also designed inte- riors, exhibitions, books and costumes. Between 19, research in the Department of Organic Culture of the Museum of Painterly Culture (later the Ginkhuk), headed by Matiushin. In 1919 studied at the Petrosvomas in Matiushin's studio.

Lenin's aim had been to raise cultural standards, and to expand literacy through mass education, but the actual situation during these years (when open admissions were estab- lished, but admissions quotas were simultaneously instituted for the bourgeois) was one of confusion and limited opportunity. 313 BIOGRAPHICAL NOTES ELENA GURO (ELEONORA GENRIKHOVNA VON NOTENBERG) Born in St.

Costakis's family was of some cultivation (his mother knew six languages), but he had little in the way of formal schooling. Petersburg, 1877; died Usikirkko, Finland (now in the USSR), May 6, 1913, of leukemia.

A citizen of Greece who had spent his entire life in the Soviet Union, he accomplished the extraordinary and unique feat of amassing a private collection of twen- tieth-century Russian and Soviet art in which the great names of the avant-garde are often represented by numerous works and in a variety of media. In 1919 attended the Vkhutemas in Moscow but soon transferred to the Vitebsk Art Insti- tute to study under Chagall, then Malevich, who took control of the school in the winter of 1919-1920.

When the Bolshevik Revolution came in 1917, the Costakis family, like many other Greeks, re- mained in Moscow. Gouache and colored inks on paper, io Vi x & xx /\" (26.8 x 17 cm.) Slogan on the platform: Long live the anniversary of the October Revolution Acquired from the artist's wife, V. 1 An article had appeared in Fravda describing the need for artists in the textile industry but they and Rodchenko were the only three who responded. In 1922 participated in the First Russian Art Exhibition [Erste russische Kunstausstellung), at the Galerie van Diemen in Berlin.

Guggenheim Foundation, New York, 1981 Cover: El Lissitzky Untitled. Guggenheim Foundation on the occasion of the exhibition Art of the Avant-Garde in Russia: Selections from the George Costakis Collection. Messer Acknowledgments The George Costakis Collection 9 by Angelica Zander Rudenstine New Insights into Soviet Constructivism: 15 Painting, Constructions, Production Art by Margit Rowell The Catalogue by Angelica Zander Rudenstine 33 Notes for the Reader 34 I. But during the 1977 ICOM confer- ence, it was possible to glimpse a few examples from it in a segregated area at the Tretiakov Gal- lery in Moscow. VASILII NIKOLAEVICH CHEKRYGIN Born Zhizdra, Kaluga Province, January 18, 1897; died near Moscow, June 3, 1922, after being struck by a train.

Guggenheim Foundation, New York 1981 ISBN: 0-89207-29-3 Library of Congress Card Catalog Number: 81-52858 © The Solomon R. 138) EXHIBITION 81/4 10,000 copies of this catalogue, designed by Malcolm Grear Designers, have been typeset by Dumar Typesetting and printed by Eastern Press in September 1981 for the Trustees of The Solomon R. Visitors who came in 1977 or thereafter could no longer see the entire collection in George Co- stakis's home. Worked as a designer with Suetin at the Lomonosov State Porcelain Factory.

Art of the Avant-Garde in Russia: Selections from the George Costakis Collection Art of the Avant-Garde in Russia: Selections from the George Costakis Collection The Solomon R. Lawson-Johnston vice-president The Right Honorable Earl Castle Stewart trustees Anne L. Donner, Robin Chandler Duke, John Hilson, Harold W. Translations were undertaken by Chimen Abramsky, Sarah Bodine, Christina A. 15 /i6" Us-5 x 6 -9 cm -) Acquired from the collection of the artist's brother, P. In the work of the Con- structivists, and especially in that of Popova, he saw new possibilities for stage design, and he im- mediately invited her to join the faculty of his workshop to teach a course in "material stage design" or "set formulation" [veshchestvennoe oformlenie spektaklia). In 1927, after the closing of the Ginkhuk, entered the Art History Insti- tute in Leningrad.

Banach, Head Guard; Elbio Almiron, Marie Bradley, Assistant Head Guards life members Eleanor, Countess Castle Stewart, Mr. Much of the information he supplied has been incorporated into the catalogue. 1923-24 Gouache and ink on paper, $Yi^ x 2" (13.6 x 5.1 cm.) Acquired from the collection of the artist's brother, P. POPOVA, "THE MAGNANIMOUS CUCKOLD" (Velikodushnyi rogonosets) Vsevolod Meierkhold assumed the directorship of the State Higher Theater Workshop in 1921 ; in that fall he had been profoundly impressed by the exhibition 5X5 = 25. From 1925 to 1926 directed the laboratory on form- color perception at the Ginkhuk.

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