Ioffe, I. [New Style]. Novyi Stil'.

Moskva-Leningrad, Izogiz, 1932.
12mo, 156, [4] pp., ill. 

In original wrappers.
Near very good condition, light wear to wrappers, small tear to spine, owner signature to title in pencil.

One of 3 000 copies published.         

This book by music and art critic Ieremiia Ioffe (1891–1947) is dedicated to his concept of synthetic art criticism (an ideological approach to art) and offers a pioneering analysis of IZORAM (the Association of Visual Arts Groups for Young Workers). IZORAM emerged in Leningrad in 1925. Its goal was to develop a new avant-garde language in amateur arts and crafts, moving away from the previous tendency of amateur artists to mimic academic art. Workers' art groups, known as izoyadra, were supervised by professional artists to ensure the high quality of IZORAM’s amateur productions. 
Interestingly, the book includes two prefaces: one from the publishing house and another from members of IZORAM. While the prefaces critique some of Ioffe’s 'mistakes', they also emphasize the importance of the book for fostering a 'healthy discussion' in the new reality following the 1932 Resolution of the Central Committee on the reorganization of literary and artistic organizations. This resolution marked the end of experimental art and led Soviet art toward Socialist Realism. IZORAM also was dissolved in 1932 with the establishment of the Artists Union.
To best illustrate his concept, Ioffe included numerous illustrations in this book, featuring both classic works and notable pieces such as Fernand Léger’s 'Umbrella and Bowler' (1926, MoMA) and Kazimir Malevich’s 'The Knifegrinder or Principle of Glittering' (1912–1913, Yale University Art Gallery). Particularly intriguing are the illustrations of IZORAM's works, including paintings and photographs of the tribunes designed by IZORAM’s artists for the Palace Square in Leningrad (1931–1932). According to some researchers, this book is one of the few sources where examples of IZORAM’s works, which have not survived to the present day, can be seen.

OCLC locates four copies in the USA: in the Getty Research Institute, the Stanford University Library, the Princeton University Library and the Columbia University Library.