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Synopsis
Kazimir Malevich (1878–1935) rose to instant prominence among the Russian avant-garde when, in December 1915, he contributed thirty-nine paintings to an exhibition in Leningrad which were of such a reduced and sophisticated abstract quality that even today they seem to possess a luminous conceptual power. Malevich’s sudden and startling realization of a non-objective way of painting – which he termed Suprematism – stands as a seminal moment in the history of 20th-century art. In Kazimir Malevich: The Climax of Disclosure, now available in a compact pocket format, Rainer Crone and David Moos trace the artist’s development from his beginnings in Ukraine and early years in Moscow – where he was closely involved in the Futurist circle – through to the late 1920s and beyond. The authors demonstrate that it is only through a close and sustained reading of Malevich’s late – and still widely misunderstood – painterly œuvre that his extraordinarily inventive stance can truly be comprehended. Crone and Moos trace the close relationship between Malevich’s practice and other contemporary non-political revolutions in physics, linguistics and poetry. They present Malevich as a uniquely creative artist, embodying in his work many of the insights and discoveries that define the twentieth century and the condition of modern life.
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About the Authors
Rainer Crone is University Professor emeritus of Contemporary Art and History of Film at Ludwig Maximilian University in Munich, Germany.
David Moos is the former Curator of Contemporary Art at AGO Art Gallery of Ontario, Toronto, Canada.
From the Back Cover
The authors elucidate Malevich's increasing concern with the central question of meaning, regarding how this work contributes to both the undermining of traditional modes of knowledge and the understanding of elaborate and more complex, indeterminate models of communications.
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Paperback. Condition: New. Kazimir Malevich (1878-1935) rose to instant prominence among the Russian avant-garde when, in December 1915, he contributed thirty-nine paintings to an exhibition in Leningrad which were of such a reduced and sophisticated abstract quality that even today they seem to possess a luminous conceptual power. Malevich's sudden and startling realization of a non-objective way of painting - which he termed Suprematism - stands as a seminal moment in the history of 20th-century art.In Kazimir Malevich: The Climax of Disclosure, now available in a compact pocket format, Rainer Crone and David Moos trace the artist's development from his beginnings in Ukraine and early years in Moscow - where he was closely involved in the Futurist circle - through to the late 1920s and beyond. The authors demonstrate that it is only through a close and sustained reading of Malevich's late - and still widely misunderstood - painterly ouvre that his extraordinarily inventive stance can truly be comprehended. Crone and Moos trace the close relationship between Malevich's practice and other contemporary non-political revolutions in physics, linguistics and poetry. They present Malevich as a uniquely creative artist, embodying in his work many of the insights and discoveries that define the twentieth century and the condition of modern life. Seller Inventory # LU-9781780233796
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Paperback. Condition: new. Paperback. Kasimir Malevich's (1878-1935) sudden and startling 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-Universit t, Munich, and is adjunct professor of art history at Columbia University. David Moos is a doctoral candidate in art history at Columbia University. Kasimir Malevich's (1878-1935) sudden and startling 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 la Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9781780233796