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Kasimir Malevich's (1878-1935) sudden and startlingrealization of a nonrepresentational way of painting, whichhe called Suprematism, stands as a seminal moment intwentieth-century art. Rainer Crone and David Moos trace theartist's development from his beginnings in the Ukraine tohis involvement with Futurist circles in Moscow through tothe late 1920s and...
Kasimir Malevich's (1878-1935) sudden and startlingrealization of a nonrepresentational way of painting, whichhe called Suprematism, stands as a seminal moment intwentieth-century art. Rainer Crone and David Moos trace theartist's development from his beginnings in the Ukraine tohis involvement with Futurist circles in Moscow through tothe late 1920s and beyond. They convincingly demonstratethat Malevich's late representational painting, still widelymisunderstood, solidifies his extraordinarily inventivestance.Against the historical background of distinctly Russianprogressive cultural and scientific movements, the authorsdefine affinities between Malevich's work and othernonpolitical revolutions: relativity and quantum theory inphysics; the work of Roman Jakobson and the "Prague School"in linguistics; and the exploration of language in thewritings of the poet Velimir Khlebnikov. They situate theartist within the fundamental epistemological shift fromnineteenth-century objectivity to an all-pervasive modernistsubjectivity, relying upon Malevich's contribution toillustrate the ways cultural production is mediated throughvarious modes of transmission.Rainer Crone holds the Chair for Twentieth Century Artat Ludwig-Maximilians-Universitä ;t, Munich, and is adjunctprofessor of art history at Columbia University. DavidMoos is a doctoral candidate in art history at ColumbiaUniversity.
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