Kazimir Malevich : The Climax of Disclosure

Crone, Rainer; Moos, David

ISBN 10: 0226120937 / ISBN 13: 9780226120935

Published by University of Chicago Press, Chicago, IL, U.S.A., 1991

About this Item

A crisp, clean Fine copy with a trace of foxing to the top edges in a Fine mylar-protected dust jacket (front slightly rubbed and back has some rubbing and light scratches). A crisp, unread copy. 230 pp., profusely illustrated in color and B&W, extensive bibliography and index. The authors define the influences that shaped the dramatic shift in Malevich's oeuvre- from his early examination of Cezanne and his involvement in Futurist circles to his rejection of mimesis and to the final wprks following 1927.

Seller Inventory # 001730

Bibliographic Details

• Title: Kazimir Malevich : The Climax of Disclosure
• Publisher: University of Chicago Press, Chicago, IL, U.S.A.
• Publication Date: 1991
• Language: English
• ISBN 10: 0226120937
• ISBN 13: 9780226120935
• Binding: Original Cloth
• Edition: First Edition
• Condition: Fine
• Dust Jacket Condition: Fine
• Seller catalogs:
  • Art

About this title

Synopsis

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.

About the Author

David Moos is the former curator of contemporary art at the Art Gallery of Ontario in Toronto.