Kirill Sokolov
Biographic Data
| ID | 971230 |
|---|---|
| NAME | Kirill Sokolov |
| GIVEN NAMES | Kirill |
| FAMILY NAME | Sokolov |
| SIGNATURE | SOKOLOV K |
| AFFILIATIONS | Leonardo Honorary Editor, 213 Gilesgate, Durham City, DH1 1QN, U.K |
| VERIFIED | No |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1976 |
| LATEST PUBLICATION YEAR | 2002 |
| H-INDEX | 2 |
Aleksandr Drevin, Nadezhda Udal'tsova
This juxtaposition of autobiographical statements written in 1933 by Aleksandr Drevin and Nadezhda Udal'tsova, together with an introduction to their artistic careers and a select chronology designed to place them in the context of their times, is intended to show how early twentieth-century Russian art evolved in parallel to Western thought and artistic practice, taking into account contemporary developments in non-Euclidean geometry, physics, m…
On The Need For More Rigorous Thinking About The Laws Of Form
Leonardo - Volume 34, Number 1, February 2001
Marina Tsvetaeva
Father Pavel Florensky and Vladimir Favorsky
The authors present a translation of Pavel Florensk’s explanation of Vladimir Favorsky’s cover for Florensky’s book Imaginary Points in Geometry (1922). They also present illustrations of that cover and other works by Favorsky that are pertinent to his association with Florensky. In the first introductory section, Kirill Sokolov gives a practising artist’s assessment of Favorsky’s method of organising time and space. In the second introductory se…
Dreams and Nightmares
Aleksandr Rodchenko
This documentary material is selected to reflect key points in Rodchenko’s artistic development. It is presented in three parts: Rodchenko’s writings on painting, on composition, and on futurology. The documents quoted in translation are excerpts from the book A. M. Rodchenko: Articles, Reminiscences, Autobiographical Notes and Letters , published a few years ago in a limited edition in the U.S.S.R., which appears to have, until now, remained unk…
Russia on Canvas
Russian and Greek Ikons from the Charles Pankow Collection of Russian and Greek Ikons through the Nineteenth Century
Russian Constructivism
Dr. Frank J. Malina
Amadou-Mahtar M'Bow, David R. Topper, Robert I. Goler, Lynn Olson, Edward Zajec, Robert C. Morgan, John Fisher, James A. Goldman, Al Hurwitz, Michele Emmer, Dr. Frank J. Malina, Leonardo, Vol. 15, No. 4 (Autumn, 1982), pp. 334-335
Discussions by Four Soviet Monumentalists of Their Mosaics, Wall-Paintings and Bas-Reliefs
Discussions by Two Artists of the Background to Their Drawings
Top left: Dmitry Mitrokhin. 'Glass', pencil and watercolour on paper, 18 x 12.5cm, 1972. (Fig. 3, cf. page 225) Top right: Nicholas Orsini. 'Fossil Garden', oils, oilpastels on canvas, 150x 108cm, 1977. (Fig. 8, cf. page 180) Center: S. J. Edwards and A. J. Langley, Colours produced by one to seven layers of cellophane (left) between crossed polarisers and (right) between parallel polarisers. (Fig. 7, cf. page 190) Bottom left: K. Wejchert. 'Wate…
Leonardo
Roy Ascott, Claude Berge, Naomi Boretz, Donald Brook, Nino Calos, Elmer H. Duncan, John Fisher, Herbert W. Franke, John H. Halas, Thomas T. Ichinose, Otto Klineberg, Pauline Bentley Koffler, , Robert Preusser, Harry Rand, Bryan Rogers, M. Sabri, Allan Shields, Cyril Stanley Smith, Kirill Sokolov, Etienne Souriau, Israel Traub, Rhoda Traub, Leonardo: The First Decade, Leonardo, Vol. 11, No. 3 (Summer, 1978), pp. 260-264
An Analysis of My Work as a Painter of Pictures
The author describes his outlook on pictorial art, in particular the art of painting. He presents his method of making paintings in the light of what artists have done in the past, including his assessment of the importance of the relationships of the smallest basic unit (i.e. the daub of paint or brush-stroke) to the whole surface of a picture and the roles of texture and of colour hue and tone both in a painting's support and in the materials u…
An Analysis of My Work as a Painter of Pictures
The author describes his outlook on pictorial art, in particular the art of painting. He presents his method of making paintings in the light of what artists have done in the past, including his assessment of the importance of the relationships of the smallest basic unit (i.e. the daub of paint or brush-stroke) to the whole surface of a picture and the roles of texture and of colour hue and tone both in a painting's support and in the materials u…
Discussions by Four Soviet Monumentalists of Their Mosaics, Wall-Paintings and Bas-Reliefs
Father Pavel Florensky and Vladimir Favorsky
The authors present a translation of Pavel Florensk’s explanation of Vladimir Favorsky’s cover for Florensky’s book Imaginary Points in Geometry (1922). They also present illustrations of that cover and other works by Favorsky that are pertinent to his association with Florensky. In the first introductory section, Kirill Sokolov gives a practising artist’s assessment of Favorsky’s method of organising time and space. In the second introductory se…
An Analysis of My Work as a Painter of Pictures
The author describes his outlook on pictorial art, in particular the art of painting. He presents his method of making paintings in the light of what artists have done in the past, including his assessment of the importance of the relationships of the smallest basic unit (i.e. the daub of paint or brush-stroke) to the whole surface of a picture and the roles of texture and of colour hue and tone both in a painting's support and in the materials u…
Leonardo
Roy Ascott, Claude Berge, Naomi Boretz, Donald Brook, Nino Calos, Elmer H. Duncan, John Fisher, Herbert W. Franke, John H. Halas, Thomas T. Ichinose, Otto Klineberg, Pauline Bentley Koffler, , Robert Preusser, Harry Rand, Bryan Rogers, M. Sabri, Allan Shields, Cyril Stanley Smith, Kirill Sokolov, Etienne Souriau, Israel Traub, Rhoda Traub, Leonardo: The First Decade, Leonardo, Vol. 11, No. 3 (Summer, 1978), pp. 260-264
Discussions by Two Artists of the Background to Their Drawings
Top left: Dmitry Mitrokhin. 'Glass', pencil and watercolour on paper, 18 x 12.5cm, 1972. (Fig. 3, cf. page 225) Top right: Nicholas Orsini. 'Fossil Garden', oils, oilpastels on canvas, 150x 108cm, 1977. (Fig. 8, cf. page 180) Center: S. J. Edwards and A. J. Langley, Colours produced by one to seven layers of cellophane (left) between crossed polarisers and (right) between parallel polarisers. (Fig. 7, cf. page 190) Bottom left: K. Wejchert. 'Wate…
Dr. Frank J. Malina
Amadou-Mahtar M'Bow, David R. Topper, Robert I. Goler, Lynn Olson, Edward Zajec, Robert C. Morgan, John Fisher, James A. Goldman, Al Hurwitz, Michele Emmer, Dr. Frank J. Malina, Leonardo, Vol. 15, No. 4 (Autumn, 1982), pp. 334-335
Discussions by Four Soviet Monumentalists of Their Mosaics, Wall-Paintings and Bas-Reliefs
Russia on Canvas
Russian and Greek Ikons from the Charles Pankow Collection of Russian and Greek Ikons through the Nineteenth Century
Russian Constructivism
Dreams and Nightmares
Aleksandr Rodchenko
This documentary material is selected to reflect key points in Rodchenko’s artistic development. It is presented in three parts: Rodchenko’s writings on painting, on composition, and on futurology. The documents quoted in translation are excerpts from the book A. M. Rodchenko: Articles, Reminiscences, Autobiographical Notes and Letters , published a few years ago in a limited edition in the U.S.S.R., which appears to have, until now, remained unk…
Father Pavel Florensky and Vladimir Favorsky
The authors present a translation of Pavel Florensk’s explanation of Vladimir Favorsky’s cover for Florensky’s book Imaginary Points in Geometry (1922). They also present illustrations of that cover and other works by Favorsky that are pertinent to his association with Florensky. In the first introductory section, Kirill Sokolov gives a practising artist’s assessment of Favorsky’s method of organising time and space. In the second introductory se…
Marina Tsvetaeva
On The Need For More Rigorous Thinking About The Laws Of Form
Leonardo - Volume 34, Number 1, February 2001
Aleksandr Drevin, Nadezhda Udal'tsova
This juxtaposition of autobiographical statements written in 1933 by Aleksandr Drevin and Nadezhda Udal'tsova, together with an introduction to their artistic careers and a select chronology designed to place them in the context of their times, is intended to show how early twentieth-century Russian art evolved in parallel to Western thought and artistic practice, taking into account contemporary developments in non-Euclidean geometry, physics, m…
Art (12 works) · Visual arts (6 works) · Art history (4 works) · Aesthetics (3 works) · Computer Science (3 works) · Psychology (3 works) · Aesthetic Perception and Analysis (2 works) · Architecture and Art History Studies (2 works) · Eastern European Communism and Reforms (2 works) · Hallucinations in medical conditions (2 works)