Neizvestnyi graduated from Moscow’s Surikov Institute of Art in 1954, one year after Stalin’s death. Neizvestnyi’s daring defense of his sculptural work to Nikita Khrushchev during the celebrated Manege exhibition attracted Western media attention, and became legendary among dissidents. Although Neizvestnyi was an officially recognized sculptor during the Thaw, he emigrated in 1976 because of the negative ideological pressure of the regime, eventually settling in New York.
For this print, Neizvestnyi, a decorated war veteran, may have drawn upon his own experience in combat. While the chaotically scattered shapes and distorted bodies suggest destruction, the bright colors resonate a sense of order—and perhaps hint at a hopeful future.
lines; abstract; writing; figures; faces; circles; rectangles; movement
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