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The Russian artist Kazimir Malevich was one of the great figures of twentieth-century art, and a pioneer of abstraction, whose painting The Black Square of 1915 has become an icon of modernism. Yet he is a creative figure about whom much still remains to be elucidated. Soviet scholarship ignored him for decades, and Western scholars were inevitably only able to work with the limited visual and documentary material that was available to them. It was only after the fall of Communism in 1991 that access to such material became easier. This book represents the fruits of the research that has been conducted since then by a range of Russian and Western scholars who have been able to shed vital new light on the artist's life, his training, his art, his career, his relationships with other artists and movements, and his theories.
Price: £75.00
Pages: 412
Publisher: Pindar Press
Imprint: Pindar Press
Publication Date:
01 September 2007
ISBN: 9781904597483
Format: Hardcover
BISACs:
Preface
John E, Bowlt, 'Kazimir Malevich and Fedor Rerberg'
Elena Basner, 'The Early Work of Malevich and Kandinsky: A Comparative Analysis'
Natalia Avtonomova, 'Malevich and Kandinsky: The Choices after Non-Objectivity'
Tatiana Goriacheva, 'Suprematism and Constructivism: The Intersection of Parallels'
Linda Boersma, 'Malevich and De Stijl'
Myroslava M. Mudrak, 'Malevich and his Ukrainian Contemporaries'
Adrian Barr, 'From 'Vozbuzhdenie to Oshchushenie: Theoretical Shifts, Nova Generatsiia and the Late Paintings'
Pamela Kachurin, 'Malevich as Soviet Bureaucrat: Ginkhuk and the Survival of the Avant-Garde 1923-1926'
Konstantin Akinsha, 'The Funeral of the Revolution'
Irina Vakar, 'Kazimir Malevich and Ortega y Gasset on the New Art'
Eva Forgacs, 'Malevich and Western Modernism'
James Lawrence, 'False Positives: Malevich, MoMA and Minimalism'
Irina Karasik, 'Extending Malevich: Malevich as Subject in Russian Art After The Second World War'
Aleksandra Shatskikh, 'Features of Kazimir Malevich's Literary Legacy: A Summary'
Index
John E, Bowlt, 'Kazimir Malevich and Fedor Rerberg'
Elena Basner, 'The Early Work of Malevich and Kandinsky: A Comparative Analysis'
Natalia Avtonomova, 'Malevich and Kandinsky: The Choices after Non-Objectivity'
Tatiana Goriacheva, 'Suprematism and Constructivism: The Intersection of Parallels'
Linda Boersma, 'Malevich and De Stijl'
Myroslava M. Mudrak, 'Malevich and his Ukrainian Contemporaries'
Adrian Barr, 'From 'Vozbuzhdenie to Oshchushenie: Theoretical Shifts, Nova Generatsiia and the Late Paintings'
Pamela Kachurin, 'Malevich as Soviet Bureaucrat: Ginkhuk and the Survival of the Avant-Garde 1923-1926'
Konstantin Akinsha, 'The Funeral of the Revolution'
Irina Vakar, 'Kazimir Malevich and Ortega y Gasset on the New Art'
Eva Forgacs, 'Malevich and Western Modernism'
James Lawrence, 'False Positives: Malevich, MoMA and Minimalism'
Irina Karasik, 'Extending Malevich: Malevich as Subject in Russian Art After The Second World War'
Aleksandra Shatskikh, 'Features of Kazimir Malevich's Literary Legacy: A Summary'
Index