Art and social life: the Russian Revolution and the creative power of idealism 11

Fiodor Fiodorovsky. Decor design for Bizet's opera Carmen, 1922. Gouache, lead white and varnish. Museum of the Bolshoi Theatre, Moscow

Fiodor Fiodorovsky. Decor design for Bizet’s opera Carmen, 1922. Gouache, lead white and varnish. Museum of the Bolshoi Theatre, Moscow

Isaac Rabinovich. Set for Aristophanes' comedy Lysistrata, 1923. Bakhrushin Theatre Museum, Moscow

Isaac Rabinovich. Set for Aristophanes’ comedy Lysistrata, 1923. Bakhrushin Theatre Museum, Moscow

Ignaty Nivinsky. Decor design for Gozzi's play Princess Turandot, 1922. Watercolour on paper. Bakhrushin Theatre Museum, Moscow

Ignaty Nivinsky. Decor design for Gozzi’s play Princess Turandot, 1922. Watercolour on paper. Bakhrushin Theatre Museum, Moscow

Liubov Popova. Set for Crommelynck's farce The Magnanimous Cuckold, 1922. Bakhrushin Theatre Museum, Moscow

Liubov Popova. Set for Crommelynck’s farce The Magnanimous Cuckold, 1922. Bakhrushin Theatre Museum, Moscow

Varvara Stepanova. Photograph of performance of Tarelkin's Death, 1922.

Varvara Stepanova’s set design. Photograph of performance of Tarelkin’s Death, 1922.

Top four images: Art of the October Revolution, Compiler, Mikhail Guerman, Trans., W.Freeman, D.Saunders, C.Binns, Aurora Art Publishers, Leningrad, 1986

Bottom image: The Avant-Garde in Russia, 1910-1930: New Perspectives, Eds., Stephanie Barron and Maurice Tuchman, Los Angeles County Museum of Art, MIT Press, Cambridge, Massachusetts, 1980

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