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Centre Georges Pompidou.; Soviet Union. Ministerstvo kulʹtury., Paris-Moscou, 1900-1930 : Arts Plastiques, Arts Appliqués et Objets Utilitaires, Architecture-Urbanisme, Agitprop, Affiche, Théâtre-Ballet, Littérature, Musique, Cinéma, Photo Créative / [Organisée Par Le Ministère de La Culture de l’URSS et Le Centre Georges Pompidou]
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Charles, Rougle, et al., ‘Pavel Muratov, “The Golden Fleece Salon”, (1908)’, Russian and Soviet views of modern Western art: 1890s to mid-1930s, vol The documents of twentieth-century art (University of California Press 2009) <https://contentstore.cla.co.uk/secure/link?id=458b4f2d-78f5-e911-80cd-005056af4099>
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Elizabeth, Kridl. Valkenier, ‘Opening Up to Europe: The Peredvizhniki and the Miriskusniki Respond to the West’, Russian art and the West: a century of dialogue in painting, architecture, and the decorative arts (Northern Illinois University Press/ Imprint of Cornell University Press 2006) <https://contentstore.cla.co.uk/secure/link?id=bb064eb6-134a-e811-80cd-005056af4099>
Evgeny, Dobrenko, ‘Socialism as Will and Representation’, Politėkonomii͡a sot͡srealizma. (The Political Economy of Socialist Realism), vol Biblioteka zhurnala ‘Neprikosnovennyĭ zapas’ (Novoe literaturnoe obozrenie 2007)
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Gustav, Klucis, ‘The Photomontage as a New Kind of Agitation Art (1931)’, Gustav Klutsis and Valentina Kulagina: photography and montage after constructivism (1st ed, International Center of Photografy 2004)
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Hayward Gallery, Centre de Cultura Contemporània de Barcelona, and Deutsches Historisches Museum, Art and Power: Images of the 1930s (South Bank Centre 1995)
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J. Hahl-Koch, ‘Kandinsky’s Role in the Russian Avant-Garde’, The Avant-garde in Russia, 1910-1930: new perspectives (Los Angeles County Museum of Art : Distributed by MIT 1980) <https://contentstore.cla.co.uk/secure/link?id=a84cd1d3-1c16-e811-80cd-005056af4099>
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——, ‘K Istorii Russkogo Avangarda (The Russian Avant-Garde). By Nikolai Khardshiev, Kasimir Malevich, and Mikhail Matiushin. Edited by Nikolai Khardshiev. Postscript by Roman Jakobson.’ (1978) 37 Slavic Review 351
——, ‘Abramtsevo and Talashkino: The Emergence of the Neo-Nationalist Style’, The silver age, Russian art of the early twentieth century and the ‘World of art’ group, vol ORP studies in Russian art history (Oriental Research partners 1979)
——, ‘Abramtsevo and Talashkino: The Emergence of the Neo-Nationalist Style’, The silver age, Russian art of the early twentieth century and the ‘World of art’ group, vol ORP studies in Russian art history (2nd ed. =, Oriental Research partners 1982)
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——, ‘Women of Genius’, Amazons of the avant-garde: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova (Royal Academy of Arts 1999)
——, ‘Introduction’, Moscow and St Petersburg in Russia’s silver age 1900-1920 (Thames & Hudson 2008)
K. Dianina, ‘An Island of Antiquity: The Double Life of Talashkino in Russia and Beyond’, Rites of place: public commemoration in Russia and Eastern Europe (Northwestern University Press 2013)
K. Kettering, ‘Decoration and Disconnection: The Russkii Stil’ and Russian Decorative Arts at Nineteenth-Century American World’s Fairs’, Russian art and the West: a century of dialogue in painting, architecture, and the decorative arts (Northern Illinois University Press 2006)
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Kachurin PJ, Making Modernism Soviet: The Russian Avant-Garde in the Early Soviet Era, 1918-1928 (Northwestern University Press 2013)
Kandinsky W, Bowlt JE and Long R-CW, The Life of Vasilii Kandinsky in Russian Art: A Study of ‘On the Spiritual in Art’, vol Russian biography series (Oriental Research Partners 1980)
Kandinsky W, Lindsay KC and Vergo P, Kandinsky: Complete Writings on Art, Vol.1: (1901-1921) (Faber and Faber 1982)
——, Kandinsky: Complete Writings on Art, Vol.2: (1922-1943) (Faber 1982)
Kandinsky W, Lloyd J, and Neue Galerie New York, Vasily Kandinsky: From Blaue Reiter to the Bauhaus, 1910-1925 (Hatje Cantz 2013)
Katerina Clark, ‘The Author as Producer: Cultural Revolution in Berlin and Moscow (1930–1931)’, Moscow, the fourth Rome: Stalinism, cosmopolitanism, and the evolution of Soviet culture, 1931-1941, vol ACLS Humanities E-book (Harvard University Press 2011) <https://www.jstor.org/stable/j.ctt24hjm6.4>
——, ‘The Return of the Aesthetic’, Moscow, the fourth Rome: Stalinism, cosmopolitanism, and the evolution of Soviet culture, 1931-1941, vol ACLS Humanities E-book (Harvard University Press 2011) <https://www.jstor.org/stable/j.ctt24hjm6.6>
Kazimir, Malevich, ‘From Cubism and Futurism to Suprematism: The New Painterly Realism. (1915)’, Russian art of the avant-garde: theory and criticism, 1902-1934 (Rev and enl ed, Thames and Hudson 1988)
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Kean BW and Kean BW, French Painters, Russian Collectors: The Merchant Patrons of Modern Art in Pre-Revolutionary Russia (Rev and updated ed, Hodder & Stoughton 1994)
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——, Imagine No Possessions: The Socialist Objects of Russian Constructivism (MIT Press 2005)
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Linda, Boersma, ‘Malevich, Lissitzky, Van Doesburg and De Stijl’, Rethinking Malevich: proceedings of a conference in celebration of the 125th anniversary of Kazimir Malevich’s birth (Pindar Press 2007)
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Maria Gough, ‘Composition and Construction’, The artist as producer: Russian constructivism in revolution (University of California Press 2005)
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Mikhail, Larionov and Natalia, Goncharova, ‘Rayonists and Futurists: A Manifesto’, Russian art of the avant-garde: theory and criticism, 1902-1934 (Rev and enl ed, Thames and Hudson 1988)
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