Kazimir Malevich's sudden realization of a non-objective way of painting, which he termed Suprematism, stands as a seminal moment in the history of 20th-century art. This is a study of his work in the context of his time and in relation to revolutions in physics, linguistics and poetry. It pays particular attention to his late figurative works. The authors trace Malevich's development from his beginnings in the Ukraine and early years in Moscow, where he was closely involved in the Futurist circle, through to the late-1920s and beyond. They argue that it is only through a close and sustained reading of the artist's late oeuvre that his extraordinarily inventive stance can truly be comprehended.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
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