Original Russian title on the poster. DATSKEVICH SERGEY IGNAT’EVICH. IN: 26 x 41 = CM: 64 x 104.5. ROLLED, USED TO BE FOLDED. Is a 1964 Soviet feature film directed by Vsevolod Voronin based on the novel of the same name by N. The film tells about the Antonov uprising in the Tambov region. At a safe apartment in Tambov, former police chief Antonov (Afanasy Kochetkov) and a former member of the Constituent Assembly, kulak Storozhev (Pyotr Glebov), meet. They learn that the Central Committee of the Socialist-Revolutionary Party has created the Union of the Working Peasantry, and begin to assemble a detachment of kulaks, dissatisfied with the Soviet regime, White Guards and deserters. At the initial stage, the armies under the leadership of Antonov achieve significant success. After the suppression of the Kronstadt mutiny in March 1921, Tukhachevsky (Alexei Golovin) embarks on decisive hostilities against Antonov. The defeat of the uprising is a foregone conclusion, almost all of its leaders were killed, and ordinary soldiers, suffering hunger and hardship, massively surrender under the announced amnesty. And only one Storozhev continues to wander around his village alone. Datskevich advertised film dramas, film adaptations, and comedy films with equal success. Datskevich’s works were addressed to a new spectator capable of thinking, brought up on the aesthetics of the thaw period. Member of the Union of Cinematographers of the USSR and the Union of Artists of the USSR. 1919 Born in the town of Pyatikhatka, Yekaterinoslavskaya province. Graduated from the Kiev Art College. From 1948 he worked for the “Reklamfilm” studio. One of the leading masters of Soviet film posters, he constantly worked in this field. He also sang political posters. 1977 Died in Moscow. Datskevich’s posters are in the Russian State Library, in the Museum of Cinema – Moscow and in other collections. The artist was an innovator in the creation of a symbolic image. The first of them – in the poster for the film adaptation of the novel by N. Ostrovsky “How the Steel Was Tempered” (“Pavel Korchagin”), Datskevich created already in 1956, ahead of the masters of the political poster by several years. And here he exactly followed the cinematography, which endowed objects of the human environment with a significant value. Unlike the film poster of the 1920s, where the subject, the detail was read exclusively as part of the montage “phrase” of the poster, in the 50s – 60s these elements play the role of the basis of the poster image and a link between the realities of the film and advertising. His work reflected the processes characteristic of the art of the “thaw”: the artist shifted the emphasis from “advertising” to commenting, from utilitarian tasks to aesthetic ones, he asserted the intrinsic artistic significance of film posters. Datskevich’s works were addressed to a new viewer capable of thinking, brought up on the aesthetics of the “thaw” time. Datskevich devoted three decades of his life to his beloved art. In the 60s and 70s, the master continued to embody many ideas that were not realized in a short period. Original title on the poster. I’m a paragraph. Mention details and specifications that you believe are relevant to your buyers. CHANTSEV ALEXANDER VASILIEVCIH (1949 – 2002). Alexander Chantsev was born in 1949 in the city of Torun, Poland. In 1973 he graduated from the Moscow Higher School of Industrial Art (formerly the Stroganov School) with a degree in Artistic Ceramics. The second prize of the International Olympic Poster Competition in 1980 gave impetus to the work in the poster genre. Several years of fruitful work in the circus poster followed, and during this period the individual style and technique of Alexander Chantsev gradually developed. In 1989 he was admitted to the Union of Artists. The film posters brought the artist international fame. Solo exhibitions of film posters by Alexander Chantsev took place in Rome in 1991 (together with Yuri Boxer) as part of the exhibition of Soviet film posters, which was held in the largest exhibition hall of the city – Palazzo delle Esposizioni. In 2001, an exhibition of movie posters by Chantsev, Boxer and Maistrovsky was held in the city of Tavira (Portugal). Alexander Chantsev took part in the largest exhibitions of Soviet and Russian posters, regularly participated in international biennials in Warsaw, Lahti, Colorado, Brno, took part in a poster exhibition in the Louvre (1989), the International Poster Festival in Chaumont, France (1991), in the exhibitions ” Russian social poster “in the USA (1991-92), Perestroika. Glasnost in Japan (1991-92), was awarded with diplomas of various competitions, a diploma of the finalist of the European competition of advertising EPICA in Paris (1992). Exhibitions of posters, in which Alexander Chantsev participated, have traveled almost all over the world, the originals and prints have ended up in the most famous galleries and in private collections in the USA, France, Switzerland, Belgium, and the Czech Republic. However, the rise of poster art, which took place thanks to perestroika and the resulting freedom, gradually ended, and interest in the poster was largely lost. New times have come when the emerging market relations have made completely different demands on artists. I had to master new genres – advertising booklets, annual reports, logos, corporate styles – and face a different customer. For the last seven years of his life, Alexander Chantsev was engaged in the design of exhibition stands, working as the art director of the Expoline company. It was a new business, and gradually the festive atmosphere of the exhibitions captured Alexander Chantsev entirely. Possessing tremendous efficiency and real professionalism, he managed to create many interesting exhibition stands for such companies as Lucent Technologies, Avaya, Alcatel, A&T Trade, KRKA, Shreya, Orimi Trade, Sunway, Mobile TeleSystems. Nevertheless, in Russia and the world, Alexander Chantsev is known primarily as a brilliant poster artist who belonged to a remarkable generation of artists. And the soft, good-natured humor of his circus posters, the philosophical metaphors of the movie posters, the sharp, satirical images of political posters will forever remain in our memory. YALTA HOTEL YALTA INTOURIST WELCOMES YOU! Come to us in the USSR! – the meaning of the posters issued by the firm “Intourist” was advertising of tourist trips for foreign citizens beyond the “Iron Curtain”. Yalta Hotel – is still working nowadays under the same name. In: 16×26 – cm: 40×60. Listing and template services provided by inkFrog.