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Celebrating Suprematism.

Celebrating Suprematism throws vital new light on Kazimir Malevich's abstract style and the philosophical, scientific, aesthetic, and ideological context within which it emerged and developed. The essays in the collection, which have been produced by established specialists as well as new schol...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Lodder, Christina
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Boston : BRILL, 2018.
Colección:Russian History and Culture Ser.
Temas:
Acceso en línea:Texto completo

MARC

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505 0 |a Intro; Contents; Acknowledgements; List of Illustrations; Notes on Contributors; Introduction; Chapter 1. New Information Concerning The Black Square; Chapter 2. Defining Suprematism: The Year of Discovery; Chapter 3. Malevich, the Fourth Dimension, and the Ether of Space One Hundred Years Later; Chapter 4. The Path of Empirical Criticism in Russia or `The Milky Way of Inventors'; Chapter 5. Kazimir Malevich, Unovis, and the Poetics of Materiality; Chapter 6. Branches of Unovis in Smolensk and Orenburg; Chapter 7. Suprematism and/or Supremacy of Architecture. 
505 8 |a Chapter 8. Lazar Khidekel and Suprematism as an Embodiment of the InfiniteChapter 9. ` ... In our time, when it became We ... ': A Previously Unknown Essay by Kazimir Malevich; Chapter 10. `A thing of quality defies being produced in quantity': Suprematist Porcelain and Its Afterlife in Leningrad Design; Chapter 11. Suprematist Textiles; Chapter 12. Suprematism: A Shortcut into the Future: The Reception of Malevich by Polish and Hungarian Artists during the Inter-War Period; Chapter 13. Conflicting Approaches to Creativity? Suprematism and Constructivism; Index. 
520 |a Celebrating Suprematism throws vital new light on Kazimir Malevich's abstract style and the philosophical, scientific, aesthetic, and ideological context within which it emerged and developed. The essays in the collection, which have been produced by established specialists as well as new scholars in the field, tackle a wide range of issues and establish a profound and nuanced appreciation of Suprematism's place in twentieth-century visual and intellectual culture. Complementing detailed analyses of The Black Square (1915), Malevich's theories and statements, various developments at Unovis, Suprematism's relationship to ether physics, and the impact that Malevich's style had on the design of textiles, porcelain and architecture, there are also discussions of Suprematism's relationship to Russian Constructivism and avant-garde groups in Poland and Hungary. 
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