Malevich : painting the absolute

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Malevich : painting the absolute

Andréi Nakov

Lund Humphries, 2010

  • v. 1
  • v. 2
  • v. 3
  • v. 4

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Includes bibliographical references and index

内容説明・目次

内容説明

An iconic figure in the history of modern art, the Russian painter Kazimir Malevich (1879-1935) was the creator of Suprematism, best known for his emblematic Black Square (1915). Censored in Russia for many years, his revolutionary writings were only recognised at the end of the twentieth century, initially in Western Europe. Similarly, much of his work remained unknown until the fall of Communism; little studied, the life and work of this painter remain shrouded in an aura of mystery. Andrei Nakov's monumental 4-volume study of this prophetic artist is founded on many decades of research in Russia, Western Europe and the US. The author has uncovered many previously unknown documents, and sheds a new light on Malevich's pivotal role in the development of modern art, offering a radically new interpretation of a fascinating artist. What results is the most detailed and comprehensive analysis of Malevich's complete oeuvre available in English, and an essential reference companion to the Malevich catalogue raisonne . Volume 1 Impressionism and Symbolism are the starting points of the Polish-born Russian painter Kazimir Malevich's avant-garde trajectory. The artist's passion for Gauguin and Cezanne, and his subsequent involvement with Cubism and Futurism, enabled him to lay the foundations of a powerful oeuvre bolstered by an unrivalled sensitivity for colour. Theory and practice, theatrical and literary experiences, paved the way for his uniquely original venture into 'transrational' creation. By exploding the coherence of traditional 'realist' representation, and thus the meaning of visual forms, Malevich pioneered a new approach to art. In the spring of 1915, moving courageously beyond the boundaries of traditional mimesis, he ventured into non-objective painting. Volume 2 Starting with Malevich's revolutionary Quadrilateral ('Black Square') of 1915, which his contemporaries experienced as a veritable earthquake, Suprematism developed vertiginously, attaining the maximal intensity of pure colour barely three years later. In the summer of 1918 the so-called colourless phase of Suprematism culminated in White Square, which marked a major painterly and philosophical turning point in the handling of colour as energy. The artist's white-on-white compositions at the Non-objective Creation and Suprematist exhibition in spring 1919 provoked the anger of his fellow non-objectivists. Motivated by philosophical considerations, his temporary abandonment of painting, which he declared 'obsolete', sounded the death knell of abstract art in Russia. Malevich's impulse to move beyond painting remains little understood even today; at the time it meant the end of any hope of his pursuing a career and making a permanent place for Suprematism in Moscow. Volume 3 Introducing Suprematism to the sphere of everyday life, Malevich created highly original architectonic works in the early 1920s, while concurrently producing an important body of theoretical writings constantly marked by philosophical preoccupations. In the teeth of increasing social adversity he turned to foreign venues. An exhibition in Berlin in 1927 opened the doors of the Bauhaus and brought him to the attention of Western European and, not long after, North American viewers. However, the idealism of his art proved anathema to the totalitarian authorities in his homeland. On returning to Leningrad he was immediately jailed. Although released he was imprisoned again, far more traumatically, in 1930, as a result of which he began to explore new figurative approaches. Endeavouring to produce images of the 'new man', he laid the foundations of his post-Suprematist figurative painting, which reconsiders symbolic values from the standpoint of his non-objective experience. Blacklisted, he suffered severe material deprivations and social ostracism, which soon made it impossible for him to continue painting. He died of cancer in 1935, aged barely 56. In addition to a visual oeuvre of stunning intensity, he left behind an as yet partly unpublished and untranslated corpus of highly original writings, the gist of which English-language readers will discover here. Volume 4 A prolific writer and fervent polemicist, Malevich wrote throughout his life and produced a vast body of texts. His Futurist and Suprematist manifestos, theoretical and polemical articles, aesthetic treatises and voluminous correspondence are duly listed in this volume, along with an exhaustive bibliography of publications devoted to his work. In addition to a generously illustrated and detailed summary of Malevich's life, this volume includes a searching study of his visual techniques and an addendum to the 2002 Catalogue Raisonne of his paintings, architectonic constructions and graphic work.

目次

  • Contents: Volume 1: Foreword, Heroic Overture
  • 1 From Kursk to Moscow: The growth of a vocation
  • 2 Impressionism Impressionist fervor: "Operations concerning light"
  • 3 Symbolism "The quest for the great cosmogonic myth"
  • 4 Expressionism Colors igniting in the painter's mind
  • 5 A "heroic aesthetic"
  • 6 Cubism The "significant volume"
  • 7 Futurism "The new rhythm"
  • 8 Cubo-Futurism "Stripping away the banal appearance of things"
  • 9 A reply to Futurism: "Changing quantity into quality"
  • 10 Transrationalism "On the threshold of a new spring": The revolution of Victory over the Sun
  • 11 "Planes are appearing"
  • 12 The Alogist revolution "Casting off the luggage of wisdom". Volume 2: 13 The dawn of Suprematism: The transition to "purely painterly" works
  • 14 Suprematism 1 The square, a "gateway to revelation"
  • 15 The 0.10 exhibition: Escaping from the "circle of things"
  • 16 Suprematism 2 "Forms must be given life"
  • 17 Suprematism 3 "Studying evanescent forces"
  • 18 Suprematism's impossible conquest of Moscow 19 Suprematism 4 A "philosophical color system"
  • 20 Suprematism 5 "The doctrine of the barren space"
  • 21 Prometheus assailed, or the difficulty of "bestowing spiritual gifts on one's contemporaries"
  • 22 Suprematism 6 The crux of Suprematist painting after 1919
  • 23 The barometer of incomprehension. Volume 3: 24 Conquering volumes: "Absolute architectonics devoid of any material utility"
  • 25 "Scanning the world from the pinnacle of art"
  • 26 Returning to shadows: A European repute and inner exile
  • 27 The quest for the "new image of man"
  • 28 Silent painting
  • 29 Ora pro nobis Domine. Volume 4: 30 A life of creation: A biographical survey
  • 31 Techniques, style and execution: The professionalism of Malewicz's practice of painting
  • Addendum and corrections to the Catalogue Raisonne
  • Bibliography
  • Index.

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