Kazimir Malevich: Suprematism
by Nina Gurianova
from Guggenheim Museum
In 1915, Kazimir Malevich changed the future of modern art when his experiments in painting led the Russian avant-garde into pure abstraction. He called his innovation Suprematism--an art of pure geometric form meant to be universally comprehensible regardless of cultural or ethnic origin. His Suprematist masterpiece, White Square on White (1920-27), continues to inspire artists throughout the world. Focused exclusively on this defining moment in Malevich's career, Kazimir Malevich: Suprematism features nearly 120 paintings, drawings and objects, among them several recently discovered masterworks. In addition, the book includes previously unpublished letters, essays and diaries, along with essays by international scholars, who shed new light on this popular figure and his devotion to the spiritual in art.
Kasimir Malevich and the Art of Geometry
by John Milner
from Yale University Press
In a book that will change perceptions of early abstract art and of Kazimir Malevich, one of the first and most extreme of abstract artists, the author explores the Russian painter`s completely unprecedented geometric style and offers a new way to look at his works. John Milner analyzes the inspirational sources, methods, and meanings of Malevich`s art of geometry, showing that it was based on an elaborate system of space and proportion.
Kazimir Malevich: The Climax of Disclosure
by Rainer Crone
from University Of Chicago Press
realization of a nonrepresentational way of painting, which
he called Suprematism, stands as a seminal moment in
twentieth-century art. Rainer Crone and David Moos trace the
artist's development from his beginnings in the Ukraine to
his involvement with Futurist circles in Moscow through to
the late 1920s and beyond. They convincingly demonstrate
that Malevich's late representational painting, still widely
misunderstood, solidifies his extraordinarily inventive
stance.
Against the historical background of distinctly Russian
progressive cultural and scientific movements, the authors
define affinities between Malevich's work and other
nonpolitical revolutions: relativity and quantum theory in
physics; the work of Roman Jakobson and the "Prague School"
in linguistics; and the exploration of language in the
writings of the poet Velimir Khlebnikov. They situate the
artist within the fundamental epistemological shift from
nineteenth-century objectivity to an all-pervasive modernist
subjectivity, relying upon Malevich's contribution to
illustrate the ways cultural production is mediated through
various modes of transmission.
Rainer Crone holds the Chair for Twentieth Century Art
at Ludwig-Maximilians-Universitä ;t, Munich, and is adjunct
professor of art history at Columbia University. David
Moos is a doctoral candidate in art history at Columbia
University.
Malevich, Life and Work (Art in Focus)
by Jeannot Simmen
from Konemann
Malevich (Rizzoli Art Series)
Malevich and Film
by Margarita Tupitsyn
from Yale University Press
Russian painter Kazimir Malevich (1878-1935), unlike other prominent Soviet artists, has not often been considered in discussions of the contributions of the avant-garde to photography and film. Yet a close examination of theoretical and practical aspects of Malevich's oeuvre not only places him fully in the Soviet post-abstract discourse on these media but also, as Margarita Tupitsyn argues in this engaging book, alters the accepted view of his post-Suprematist period. Exploring Malevich's involvement with film for the first time, Tupitsyn draws on little known writings about cinema by the artist himself, newly accessible works, and many previously unpublished photographs and documents. Malevich's influence on twentieth-century art extends far more widely than has been claimed for him before, the author concludes. The book begins with a reevaluation of Malevich's most famous painting, Black Square, a work whose meaning and function was in constant flux. Through Black Square Malevich began to cross the bridge from the painting medium to mechanically generated production, ultimately influencing the postrevolutionary phase of his Suprematism and leading to his abandonment of abstraction in the late 1920s. Tupitsyn discusses in detail Malevich's writing about the cinema, the cinematic qualities of some of his works, the work of other contemporary artists with bonds to cinematography, and the significant impact of Malevich's thought and work on Russian, European, and American artists of the 1920s and 1930s as well as the postwar period.
Malevich Cameo (Great Modern Masters)
by Jose Maria Faerna
from Harry N. Abrams
Malevich: Artist and Theoretician
Kazimir Malevich in the State Russian Museum
by Yevgenia Petrova
from Palace Editions
The State Russian Museum houses the world's largest collections of works by Kazimir Malevich. Features Paintings, drawings and watercolours, postcards, posters, book graphic art, archetectons and porcelain. Includes an exemplary Guide to the Catalogue.
Masters of Art: Malevich (Masters of Art)
by Charlotte Douglas
from Harry N. Abrams
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