Universitätsbibliothek HeidelbergUniversitätsbibliothek Heidelberg
Metadaten

Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied — 45.2012

DOI issue:
Nr. 1
DOI article:
Friedman, Victor A.: Beyond the borders: Bulgarian and Macedonian poetic cover art in the early and middle twentieth century
DOI Page / Citation link:
https://doi.org/10.11588/diglit.51715#0047

DWork-Logo
Overview
Facsimile
0.5
1 cm
facsimile
Scroll
OCR fulltext

9. M. Vecherov: Světlini v lesa [Lights in the Forest], Sofia : T L.
Klisarov, 1921. Artistic design A. Kalňchev. Photo: The University of
Chicago Pegenstein Ubraty.


10. S. Krasinski: Vistrel [Gunshot], Sofia : Gutenberg, 1929. Photo:
The University of Chicago Legenstein labrary.

like Bridge 1 [Fig. 11] where the letters were pylons,
Archer — literally “shooter” — [Fig. 12], where the
frame of the figure replicates an arrowhead, and
The Earth Is Calling Us [Fig. 13], where the heavy
lettering and the mournful figure suggest the pull
of our inévitable descent into Sheol. The second
half of the decade produced, among others, varying
images of fragmentation in addition to the carefully
jumbled letters of Gunshot. Dechko Uzunov’s cover
for Lamar’s Iron Icons [Fig. 14], disassembles the no-
tion of sacred image, while Smashed Tablets [Fig. 15],
with its suggestive outer shape associated with one
of the Tablets of the Law, depicts despairing dissolu-
tion. In S hattered Mirrors [Fig. 16], the fragmentation
attempts to give the impression of cohérence, while
the framing C’s of CmuxomeopHa cßupxa {Stihotvorna
sbírka — Poetry collection) are abstract to the point of
unrecognizability out of context.

7 Lamar’s Arena figures on p. 15 of GENOVA, I.: The Cul-
tural Situation Non-Center and Bulgarian Art Düring the
1920s. In: GENOVA - DIMITROVA 2002 (see in note 4),
pp. 7-46.


11. D. Panteleev — G. Karaivanov — A. Dalchev: Most 1 [ßridge
1], Sofia : Most, 1923. Photo: The University of Chicago Pegenstein
Library.

41
 
Annotationen