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http://worldcat.org/entity/work/id/744559

Kazimir Malevich : the climax of disclosure

"Kazimir Malevich: The Climax of Diclosure traces the artist's development from his beginning in Ukraine and early years in Moscow, where hs was closely involved in the Futurist circle, through to the late 1920s and beyond. Rainer Crone and David Moos demonstrate that it is only through a close and sustained reading of Malevich's late and still widely understood painterly oeuvre that his extraordinarily inventive stance can be truly comprehended."

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  • "Climax of disclosure"@en

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  • ""Kazimir Malevich: The Climax of Diclosure traces the artist's development from his beginning in Ukraine and early years in Moscow, where hs was closely involved in the Futurist circle, through to the late 1920s and beyond. Rainer Crone and David Moos demonstrate that it is only through a close and sustained reading of Malevich's late and still widely understood painterly oeuvre that his extraordinarily inventive stance can be truly comprehended.""@en
  • "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-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."

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  • "Criticism, interpretation, etc"
  • "Criticism, interpretation, etc"@en

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  • "Kazimir malevich : the climax of disclosure"
  • "Kazimir Malevich : the climax of disclosure"
  • "Kazimir Malevich : the climax of disclosure"@en
  • "Kazimir Malevich the climax of disclosure"@en
  • "Kazimir Malevich the climax of disclosure"

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