By Andrei B Nakov
The time period «avant-garde» being simply deceptive, it sounds as if to me essential to specify the bounds of the subject-matter. The richness of the creative explosion that Russia skilled among 1896 and 1932 doesn't let right here the remedy of the topic in its whole diversity. as a result, I restricted myself to discover merely the evolution of plastic arts from the emergence of non-objective paintings in 1915 as much as the top of 1921 while ideology and theoretical mirrored image imagine the results in it sounds as if adversarial, yet actually dialectically interdependent instructions. the arrival of nonobjective artwork have been preceded by way of an excellent symbolist interval in addition to via a unprecedented cubo-futurist flowering that can on its own represent the topic of one other ebook. you'll be able to say an identical for the results of non-objective artwork within the realm of utilized arts and extra so in that of structure the awesome invention of Russian architects will surely benefit a book of its personal
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Additional info for Avant-garde russe
He announces the superseding of materially experimental knowledge and 1916. 1918, asserts the authority of spatial moment concept— that From of the (white) infinity. e. that of the man who assumes the philosophical consequences of this new world vision. Malevich painted then a series of white pictures which included a "white square" (on white ground). Unlike the first (black) square, the white composition of 1918 was not static. The surface of the square is cut by a diagonal movement, an arrangement which accentuates the impression of dynamism: one has the feeling that the space draws the square towards the white infinity.
Painting has been obsolete for a long time and the painter himself is a prejudice from the past" (1920). ' These declarations had a bomb-like effect. The consternation in the ranks of his colleagues reached its pitch. Most of them dissociated themselves openly from Malevich during the exhibition "Non-objective creation 38 39 and suprematism" (Moscow, 1919). Rodchenko, faithful to a evidence as of his first non-objective attempts of 1915, presented a sort of materialist answer to the "white on white" of Malevich: "black on black" pictures (circles and ellipses with a heavily emphasized Followed by a certain number of his colleagues, he threw himself texture).
The evolution of Rozanova's non-objective art was, later on, to follow an While participating in the "Supremus" circle of Malevich, she developed an autonomous way of thinking, proved by her rare works original path. that survived the revolutionary tumult. Contrary to the immateriality of principle which the suprematist planes by Malevich are supposed to attest to, the composition of Rozanova's non-objective masses was articulated by the principles of a logic of (visual) weight of colour. forms seems space.