MULTIMEDIA ART MUSEUM, MOSCOW
MUSEUM "MOSCOW HOUSE OF PHOTOGRAPHY"
Ru

George Petrusov
Retrospective

George Petrusov.
Airplane “Maxim Gorki”. 
1934 George Petrusov.
Armenian Cultural Delegation in Red Square. 
1936/37 George Petrusov.
Caricature Portrait of Alexander Rodchenko. 
1933/34 Unknown author.
Portrait of Georgi Petrusov George Petrusov.
“Fly Aeroflot Planes!”. 
1960s.
Artist’s color print George Petrusov.
Lunch in a Field. 
1934 George Petrusov.
A Collective Farm Worker. 
1934 George Petrusov.
Bolshoi Theatre. 
1950s George Petrusov.
The Dnieper Hydroelectric Power Station. 
1935 George Petrusov.
Armenian delegation in Red Square. 
1936-1937 George Petrusov.
Oil. 
1930 George Petrusov.
Kremlin at Night (Victory Day Fireworks). 
Mid-1940s

George Petrusov. Airplane “Maxim Gorki”. 1934

George Petrusov. Armenian Cultural Delegation in Red Square. 1936/37

George Petrusov. Caricature Portrait of Alexander Rodchenko. 1933/34

Unknown author. Portrait of Georgi Petrusov

George Petrusov. “Fly Aeroflot Planes!”. 1960s. Artist’s color print

George Petrusov. Lunch in a Field. 1934

George Petrusov. A Collective Farm Worker. 1934

George Petrusov. Bolshoi Theatre. 1950s

George Petrusov. The Dnieper Hydroelectric Power Station. 1935

George Petrusov. Armenian delegation in Red Square. 1936-1937

George Petrusov. Oil. 1930

George Petrusov. Kremlin at Night (Victory Day Fireworks). Mid-1940s

Moscow, 11.12.2010—13.02.2011

exhibition is over

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Alex Lachmann and Moscow House of photography collection

Alex Lachmann and Moscow House of photography collection

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A photogapher of the first five-year plan and a colleague of Alexander Rodchenko and Sergei Eisenstein, George Petrusov recorded a world that was just beginning to emerge. Chasing around the country to capture the dynamics of the socialist construction site or clearing the grand Soviet ballet, he created a myth of a happy life in which he himself firmly believed.

«He’s like a sponge that absorbs everything about photography», Rodchenko said of Petrusov. Raised on the movement of constructivism, Petrusov was always willing to use the entire arsenal of techniques of the era, borrowing pictorialism, expressionism, and monumental realism. Unafraid of change, he went from the role of a demiurge, directly creating the latest historical record, to an observer, reflecting the external magnificence of public monuments. From the grand picture stories for the magazine USSR in Construction, to surreal images of the war, to his final «ballet period», he was always willing to reconsider his own position in the search of a better image.

With the support of

Ahmad Tea Bank of Moscow Channel One Russia echo.msk.ru Foto-Video foto.ru Coast Radio Culture DOMOVOY DI Art GID RBC