DOCSLIB.ORG

John E. Bowlt Vasilii Kandinsky and Nikolai Kul'bin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John E. Bowlt Vasilii Kandinsky and Nikolai Kul'bin JOHN E. BOWLT VASILII KANDINSKY AND NIKOLAI KUL'BIN These eleven letters from Vasilii Kandinsky to Nikolai Ivanovich Kul'bin (1868-1917) were published in the original Russian by Evgenii Fedorovich Kovtun (1928-1996) in 1981. They are published here in English translation for the first time together with a substantial part of Kovtun's commentary and annotation.'I A senior curator of twentieth-century painting at the State Russian Mu- seum, St. Petersburg, Kovtun maintained a particular interest not only in the first celebrities of the Russian avant-garde, such as Pavel Filonov, Kandin- sky, Kazimir Malevich, and Vladimir Tatlin, but also in the less familiar apologists and movers, such as Kul'bin, Pavel Mansurov, Vladimir Markov (Waldemar Matvejs), and Iurii Vasnetsov.2 Kovtun also did much to win broader appreciation for certain groups, media, and cultural phenomena that, a quarter of a century ago, were little known or understood, including the Un- ion of Youth, experimental book illustration, and store-signboards.3 Kovtun was a pioneer in the historiography of Russian Modernism and should be re- membered and applauded for both the passionate commitment and dispas- sionate analysis with which he approached the subject. He was brave to do so, risking professional compromise at a moment when in the Soviet Union the Russian avant-garde was still an issue that generated misgiving, trepida- tion, and widespread censure. 1. E. Kovtun, ed., "Pis'ma V. V. Kandinskogo k N. I. Kul'binu," in T. Alekseeva et a]., eds., Pamiatniki kul'tury. Novye otkrytiia, 1980 (Leningrad: Nauka, 1981), pp. 399-410. The original manuscripts of the letters are in the Manuscript Section of the State Russian Museum, St. Pe- tersburg, Call. No.: f 134, ed. khr. 35, 11. 2-26 ob. For extracts from a few of the letters in Eng- lish translation, see J. Hahl-Koch, Kandinsky (New York: Rizzoli, 1993), pp. 135-36. Inasmuch as the Russian avant-garde, including Kandinsky's Russian and Soviet connections, has been the subject of careful study over the last decades, some of Kovtun's original remarks have lost their actuality. Even so, the substance of his original commentary has been incorporated into the ap- paratus below together with judicious supplements. 2. See, for example, E. Kovtoun et al., Paul A4an.vouroff el I'avant-garde russe a Petrograd (Catalog of exhibition at the Musde d'Art moderne et d'Art contemporain, Nice, 1995). 3. See, for example, Sange.si. Die ru.ssische Avantgarde. C'hlebnikow und seine Mader (Zurich: Stcmmle, 1993); and with Alia Povelikhina, Russian Painted Shop Sigm and Avant- Garde Artists (Leningrad: Aurora, 1991). For an appreciation of Kovtun and his scholarship, see >~. Petrova et al., Devoted to Russian Avant-Garde. In Memory of Yevgeny Kovtun (St. Peters- burg: Pallace, 1998). The letters from Kandinsky to Kul'bin are important because they demon- strate not only the personal and professional proximity of the painter, theorist, poet, and musician Kandinsky to the physician, painter, theorist, and musi- cian Kul'bin, but also the complexity of the many common projects and con- cepts with which both men were associated: the exhibitions and almanacs of the Blaue Reiter and other societies, the elaboration of the drafts of Dn the Spiritual in Art, the All-Russian Congress of Artists in St. Petersburg in 1911-12, Vladimir Izdebsky's international salons in Odessa and other cities, the inter-relationship of music and painting, the rediscovery of primitive art, the notions of esthetic dissonance and intervention, and the relentless move towards abstract painting. Kul'lbin, a medical doctor, was also a champion of the early avant-garde, especially in St. Petersburg, organizing exhibitions of the new art, promoting it through his lectures and publications, and chaperon- ing painters as diverse as Kazimir Malevich and Georgii Yakulov, David Burliuk, and Kandinsky. The eleven letters published below prove how closely Kandinsky observed Russian cultural life in spite of his residence abroad, interacting constantly with Moscow, St. Petersburg, and Odessa. They are also a representative sampling of a wider Russian correspondence, much of which has yet to be lo- cated and systematized. Kandinsky conducted a lively interchange with many Russian artists, historians, critics, collectors, publishers, and dealers and, if terse and pragmatic rather than philosophical and rhapsodic, the letters con- stitute an important record of friendships, artworks, exhibitions, and itinerar- ies. The assembly, collation, and annotation of all the Russian letters would make for a useful anthology.44 4. For other Kandinsky correspondence, see his letters to Aleksandr Chuprov (lecturer in economics at Moscow University and Kandinsky's professor) in S. Shumikhin, ed., "Pis'ma V. V. Kandinskogo A. 1. Chuprovu," in T. Alekseeva et al., eds., Pamiatniki kul'tury. Novye otkry- tiia, 1981 (Leningrad: Nauka, 1983), pp. 337-44; to Nadezhda Dobychina, Petr Kogan, and Aleksandr Shenshin in Experiment (Los Angeles), 8 (2002), 232-39; to Boris Egiz in V. Abramov, !! V. Kandinskii v khudozhestvennoi zhizni Odessy (Odessa: Glas, 1995), pp. 31-41; to Dmitrii Kardovsky in N. Avtonomova, cd., "Pis'ma V. V. Kandinskogo D. N. Kardovskomu," in A. Gusarova and N. Avtonmova, eds., Vasilii Vasil'evich Kandinskii (Catalog of exhibition at the State Tretiakov Gallery, Moscow, 1989), pp. 22-32; in German translation in lu. Korolev and N. Avtonomova, eds., Wassily Kandinsky. Die erste sowjetische Retrospektive (Catalog of exhibi- tion at the Schim Kunsthalle, Frankfurt-am-Main, 1989), pp. 47-54; and to Andrei Pappe in V. Kulikov and V. Turchin, "Vasilii Kandinsky. Shest' pisem," in Tvorchestvo (Moscow, 1998), Russian-German issue, pp. 24-27. See also J. Hahl-Koch, ed., Arnold Schönberg Wassily Kand- insky. Briefe, Bilder und Dokumente einer aussgewöhnitchen Begegnung (Salzburg and Vienna: Residenz, 1980) and in English translation: Arnold Schoenberg Wassily Kandinsky. Letters, Pic- tures and Documents (London: Fabcr 홢 Faber, 1984); A. Hoberg, Vassily Kandinsky and Gab- ticle Munter (Munich-New York: Prcstel, 1994); G. Kleine, Gabriele Munter und Wassily Kand- insky (Frankfurt am Main: Insel, 1991); C. Derouet et al., Vassily Kandinsky. Correspondances avec Zervos [Christian Zervos] et Kojeve [Alexandre Kojeve (Aleksandr Kozhevnikov)] (Special .
Load more

Recommended publications
  • Read Book Kazimir Malevich
    KAZIMIR MALEVICH PDF, EPUB, EBOOK Achim Borchardt-Hume | 264 pages | 21 Apr 2015 | TATE PUBLISHING | 9781849761468 | English | London, United Kingdom Kazimir Malevich PDF Book From the beginning of the s, modern art was falling out of favor with the new government of Joseph Stalin. Red Cavalry Riding. Articles from Britannica Encyclopedias for elementary and high school students. The movement did have a handful of supporters amongst the Russian avant garde but it was dwarfed by its sibling constructivism whose manifesto harmonized better with the ideological sentiments of the revolutionary communist government during the early days of Soviet Union. What's more, as the writers and abstract pundits were occupied with what constituted writing, Malevich came to be interested by the quest for workmanship's barest basics. Black Square. Woman Torso. The painting's quality has degraded considerably since it was drawn. Guggenheim —an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from May All articles with unsourced statements Articles with unsourced statements from June Lyubov Popova - You might like Left Right. Harvard doctoral candidate Julia Bekman Chadaga writes: "In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception Retrieved 6 July A white cube decorated with a black square was placed on his tomb. It was one of the most radical improvements in dynamic workmanship. Landscape with a White House.
    [Show full text]
  • The Left Front : Radical Art in the "Red Decade," 1929-1940
    LEFT FRONT EVENTS All events are free and open to the public Saturday, January 18, 2pm Winter Exhibition Opening with W. J. T. Mitchell Wednesday, February 5, 6pm Lecture & Reception: Julia Bryan-Wilson, Figurations Wednesday, February 26, 6pm Poetry Reading: Working Poems: An Evening with Mark Nowak Saturday, March 8, 2pm Film Screening and Discussion: Body and Soul with J. Hoberman Saturday, March 15, 2pm Guest Lecture: Vasif Kortun of SALT, Istanbul Thursday, April 3, 6pm Gallery Performance: Jackalope Theatre, Living Newspaper, Edition 2014 Saturday, April 5, 5pm Gallery Performance: Jackalope Theatre, Living Newspaper, Edition 2014 Wednesday, April 16, 2014, 6pm Lecture: Andrew Hemingway, Style of the New Era: THE LEFT FRONT John Reed Clubs and Proletariat Art RADICAL ART IN THE "RED DECADE," 1929-1940 Mary and Leigh Block Museum of Art Northwestern University 40 Arts Circle Drive, Evanston, IL, 60208-2140 www.blockmuseum.northwestern.edu Generous support for The Left Front is provided by the Terra Foundation for American Art, as well as the Terra Foundation on behalf of William Osborn and David Kabiller, and the MARY AND LEIGH BLOCK MUSEUM OF ART Myers Foundations. Additional funding is from the Carlyle Anderson Endowment, Mary and Leigh Block Endowment, the Louise E. Drangsholt Fund, the Kessel Fund at the NORTHWESTERN UNIVERSIty Block Museum, and the Illinois Arts Council, a state agency. theleftfront-blockmuseum.tumblr.com January 17–June 22, 2014 DIRECTOR'S FOREWORD The Left Front: Radical Art in the “Red Decade”, 1929–1940 was curated by John Murphy undergraduate seminar that focused on themes in the exhibition and culminated in and Jill Bugajski, doctoral candidates in the Department of Art History at Northwestern student essays offering close examinations of particular objects from the show.
    [Show full text]
  • Abrief History
    A BRIEF HISTORY OF RUSSIA i-xxiv_BH-Russia_fm.indd i 5/7/08 4:03:06 PM i-xxiv_BH-Russia_fm.indd ii 5/7/08 4:03:06 PM A BRIEF HISTORY OF RUSSIA MICHAEL KORT Boston University i-xxiv_BH-Russia_fm.indd iii 5/7/08 4:03:06 PM A Brief History of Russia Copyright © 2008 by Michael Kort The author has made every effort to clear permissions for material excerpted in this book. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Kort, Michael, 1944– A brief history of Russia / Michael Kort. p. cm.—(Brief history) Includes bibliographical references and index. ISBN-13: 978-0-8160-7112-8 ISBN-10: 0-8160-7112-8 1. Russia—History. 2. Soviet Union—History. I. Title. DK40.K687 2007 947—dc22 2007032723 The author and Facts On File have made every effort to contact copyright holders. The publisher will be glad to rectify, in future editions, any errors or omissions brought to their notice. We thank the following presses for permission to reproduce the material listed. Oxford University Press, London, for permission to reprint portions of Mikhail Speransky’s 1802 memorandum to Alexander I from The Russia Empire, 1801–1917 (1967) by Hugh Seton-Watson.
    [Show full text]
  • Constructivism (Art) 1 Constructivism (Art)
    Constructivism (art) 1 Constructivism (art) Constructivism was an artistic and architectural philosophy that originated in Russia beginning 1919, which was a rejection of the idea of autonomous art in favour of art as a practice for social purposes. Constructivism as an active philosophy lasted until about 1934, greatly effecting the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism. Some of its motifs have been reused sporadically since. Beginnings The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko during 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed during 1922.[1] Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited during 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Photograph of the first Constructivist Exhibition, 1921 Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. The teaching basis for the new ohilosophy was established by The Commissariat of Enlightenment (or Narkompros) the Bolshevik government's cultural and educational ministry directed by Anatoliy Vasilievich Lunacharsky who suppressed the old Petrograd Academy of Fine Arts and the Moscow School of Painting, Sculpture and Architecture during 1918. IZO, the Commissariat's artistic bureau, was managed during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune.
    [Show full text]
  • Tatlin. New Art for a New World Museum Tinguely, Basel: 6 June – 14 October 2012
    PRESS RELEASE Basel, April 2012 Tatlin. new art for a new world Museum Tinguely, Basel: 6 June – 14 October 2012 This year the Museum Tinguely in Basel is dedicating its large summer exhibition to one of the most important figures of the Russian avant- garde: Vladimir Tatlin (1885–1953). It is now almost twenty years since the last comprehen- sive retrospective to be devoted to this radically innovative artist. The presented works will include early paintings, counter-reliefs that reach out into the surrounding space, reconstructions of his revolutionary tower, and Unknown photographer, Presentation of Vladimir Tatlin’s Letatlin the flying machine Letatlin. The exhibition is at a glider show, in Moscow, 1933, State Tretyakov-Gallery, Moscow rounded off with examples of his work for the theatre. The œuvre of this outstanding artist from the watershed period at the beginning of the twentieth century will be represented in over one hundred masterpieces, mostly on loan from major collections in Moscow and St Petersburg. Vladimir Tatlin began his career as a seaman. Until 1913 his artistic activities were limited exclusively to painting and drawing. Interested in the traditional fields of icon-painting and folk art, he later transferred his attention to the most modern avant-garde trends in Russia and Western Europe, more precisely Paris. His entire later work is founded on painting. The exhibition will show a comprehensive selection of his early paintings with their bold expanses of colour, rhythmic curves, and striking use of dark and light outlines. In these eye-catching works Tatlin achieved a highly original synthesis of the Russian tradition and the French avant-garde.
    [Show full text]
  • Checklist of the Judith Rothschild Foundation Gift
    Checklist of The Judith This checklist is a comprehensive ascertained through research. When a For books and journals, dimensions Inscriptions that are of particular his- record of The Judith Rothschild place of publication or the publisher given are for the largest page and, in torical or literary interest on individual Rothschild Foundation Gift Foundation gift to The Museum of was neither printed in the book nor cases where the page sizes vary by books are noted. Modern Art in 2001. The cataloguing identified through research, the des- more than 1/4,” they are designated Coordinated by Harper Montgomery system reflects museum practice in ignation “n.s” (not stated) is used. irregular (“irreg.”). For the Related The Credit line, Gift of The Judith under the direction of Deborah Wye. general and the priorities of The Similarly, an edition size is some- Material, single-sheet dimensions in Rothschild Foundation, pertains to all Museum of Modern Art’s Department times given as “unknown” if the print which the height or width varies from items on this checklist. To save space Researched and compiled by of Prints and Illustrated Books in par- run could not be verified. City names one end to the other by more than and avoid redundancy, this line does Jared Ash, Sienna Brown, Starr ticular. Unlike most bibliographies are given as they appear printed in 1/4” are similarly designated irregular. not appear in the individual entries. Figura, Raimond Livasgani, Harper and library catalogues, it focuses on each book; in different books the An additional credit may appear in Montgomery, Jennifer Roberts, artists rather than authors, and pays same city may be listed, for example, Medium descriptions (focusing on parentheses near the end of certain Carol Smith, Sarah Suzuki, and special attention to mediums that as Petersburg, St.
    [Show full text]
  • Model Exhibition*
    Model Exhibition* MARIA GOUGH Despite the fact that it was never realized at full scale, Vladimir Tatlin’s long-lost model for his Monument to the Third International (1920) remains to this day the most widely known work of the Soviet avant-garde. A visionary proposal for a four-hundred-meter tower in iron and glass conceived at the height of the Russian Civil War, the monument was to house the headquarters of the Third International, or Comintern, the international organization of Communist, socialist, and other left-wing parties and workers’ organizations founded in Moscow in the wake of the October Revolution with the objective of fomenting revolutionary agitation abroad. Constructed in his spacious Petrograd studio, which was once the mosaics workshop of the imperial Academy of Art, Tatlin’s approximately 1:80 scale model comprises a skeletal wooden armature of two upward-moving spirals and a massive diagonal girder, within which are stacked four revolving geometrical volumes made out of paper, these last set in motion by means of a rotary crank located underneath the display platform. In the pro - posed monument-building, these volumes were to contain the Comintern’s legislature, executive branch, press bureau, and radio station. According to the later recollection of Tevel’ Schapiro, who assisted Tatlin in his construction of the model, two large arch spans at ground level were designed so that the tower could straddle the banks of the river Neva in Petrograd, the birthplace of the 1917 revolutions. Lost since the mid-1920s, Tatlin’s original model has been reconstructed sev - eral times at the behest of exhibition curators.
    [Show full text]
  • Vladimir Mayakovsky Had Been Writing Poetry For
    The door between the two rooms had been taken off its hinges to make more space. Mayakovsky stood leaning against the doorframe. He took a small notebook from the inside pocket of his jacket, glanced in it and stuck it back in his pocket again. For a while he said nothing. Then, his eyes sweeping over the room as if it were an enormous auditorium, he read out the prologue, and asked— not in verse, but in prose, in a low, unforgettable voice: You think malaria makes me delirious? It happened. In Odessa, it happened. (trans. george reavey) We raised our heads and did not take our eyes off this miracle until it was all over. Vladimir Mayakovsky had been writing poetry for sev- A MOST JOYOUS DATE A MOST eral years, but this reading of “A Cloud in Trousers” at the apartment of Lili and Osip Brik in July 1915 marked the beginning of a new stage in both his literary and his private life. “The Briks were entranced by his verses and fell in love with them once and for all,” remem- bered Lili’s younger sister, Elsa, who was present at the reading. For Mayakovsky, the encounter with Lili and Osip Brik was a turning point in his life that he was later to describe as “a most joyous date.” By the summer of 1915, the World War had been raging for a year, and it was obvious to most people that it would be followed by sweeping political and social changes. In the aesthetic sphere— in literature, painting, and music—the revolution was already a fact, and Russia was in the vanguard of this process.
    [Show full text]
  • Vladimir Tatlin: Form/Faktura*
    Vladimir Tatlin: Form/Faktura* MARGIT ROWELL Tatlin's life is known to us in barest outline. Although a large body of his works and writings presumably still exists in the Soviet Union, these are for the most part unseen and unknown by Westerners.' The bases for study of this artist, considered the founder of constructivism, are therefore sparse: a small number of paintings, drawings, miscellaneous objects and fragments of objects; a few photographs, texts, and eyewitness reports, which are accessible outside Russia. Since no quantity of work ever found its way to the West, far less firsthand documentation is available for Tatlin than for Malevich, say, or Lissitzky. Yet Tatlin is as celebrated as they, as honored as they are for his contributions to the art of the twentieth century. We can only conjecture that the high points of his creative activity are known to us and, although few, they are, like the greater bodies of work by his better known contemporaries, exemplary and a valid point of departure. From these remaining fragments we can draw a profile of Tatlin's achievement and see that it is at one and the same time profoundly Russian and extremely modern. That is to say, Tatlin drew on the peculiarly Russian concep- tions of faktura and transrational language to envision an art that would consist of a semantic encoding of pure materials. The biographical framework of Tatlin's life is fairly familiar. Born in Moscow in 1885,2 he was fifteen years younger than Malevich, eight years older * This essay was originally presented as a lecture, in French, at the Grand Palais in Paris on February 14, 1978.
    [Show full text]
  • Conflicting Approaches to Creativity? Suprematism and Constructivism
    Chapter 13 Conflicting Approaches to Creativity? Suprematism and Constructivism Christina Lodder We tend to think of Suprematism and Constructivism as being diametrically opposed in their approach to the work of art and the process of creativity. In part, this is because of the overt animosity that existed between Kazimir Malevich and Vladimir Tatlin, who are regarded as the leaders of these two movements. This enmity has usually been regarded as the result of the long- standing rivalry between the two artists, which had been strengthened by the competitive atmosphere that characterised the pre-revolutionary Russian art world.1 By the early 1920s, personal antagonisms had been reinforced by sev- eral crucial and substantial creative and theoretical differences, some of which pre-dated the Revolution, although many had appeared with particular inten- sity after the emergence of Constructivism in March 1921. Constructivism’s emphasis on industry, technology, utility, and Commu- nism seemed completely at odds with Suprematism’s more explicitly aesthetic, spiritual and metaphysical content. In 1924, Malevich stressed, ‘those who know Suprematism and Constructivism will not confuse these two phenom- ena’.2 He was particularly opposed to the importance that the Constructivists gave to technology and utility. For Malevich, Constructivism represented the ‘academicism of technology’,3 and its focus on objects of practical necessity 1 For a penetrating analysis of the relationship between Malevich and Tatlin, see Charlotte Douglas, ‘Tatlin und Malewitsch: Geschichte und Theorie 1914-1915 / Tatlin i Malevich: istoriia i teoriia 1914-1915’, in Jürgen Harten, ed., Vladimir Tatlin: Leben, Werk, Wirkung. Eine inter- nationales Symposium (Cologne: Dumont Buchverlag, 1983), 210-218 (German) and 430-437 (Russian).
    [Show full text]
  • Andréi Nakov CONTENTS
    Andréi Nakov CONTENTS INTRODUCTION THE ILLUMINATIONS OF MODERNITY Prologue P A R T I GRADUS AD PARNASSUM C H A P T E R 1 : THE YEARS OF APPRENTICESHIP Narcissistic wounds are not healed by the experience of the sea Attending art schools In Larionov’s footsteps A passion for the stage A growth by conceptual leaps C H A P T E R 2 : IN THE LABYRINTH OF MODERNITY From “Purism” to Cubism Andréi Nakov The Futurist catalyst Tatlin’s Reliefs: From the radicalness of the “picture plane” from Cubism to Abstraction to the end of the “statuary” Cracow 2020 The revolution of the analytical drawings 200 × 257 mm Liberating form from the constraints of mass laminated hardback C H A P T E R 3 : 372 pages, 219 colour illustrations THE PICASSO YEAR AND CUBIST COMPETITIVENESS ISBN 978-83-89831-37-8 The significance of the Symbolist heritage: the role of the theoretician Vladimir Markov The precursor’s formalism of Tatlin’s fellow traveller, Vladimir Burljuk Également disponible en version française Les reliefs de Tatline : An excess of theorizing du cubisme à l’abstraction C H A P T E R 4 : LIBERATING THE UNCONSCIOUS Sculpture, painting’s poor relative Breaking through the confines of mass Publisher: The barrier of abstraction: the limits of Parisian Cubism IRSA Publishing House Plac Matejki 7/8 C H A P T E R 5 : 31-157 Kraków BEYOND CUBISM Poland The mythical journey: Berlin and Paris tel. (+48 12) 421 90 30 The visit to Picasso: a revelation and a confir- e-mail: [email protected] mation www.irsa.com.pl In the hub of modernism: strolling around Paris P
    [Show full text]
  • Celebrating Suprematism: New Approaches to the Art of Kazimir
    Celebrating Suprematism Russian History and Culture Editors-in-Chief Jeffrey P. Brooks (The Johns Hopkins University) Christina Lodder (University of Kent) Volume 22 The titles published in this series are listed at brill.com/rhc Celebrating Suprematism New Approaches to the Art of Kazimir Malevich Edited by Christina Lodder Cover illustration: Installation photograph of Kazimir Malevich’s display of Suprematist Paintings at The Last Futurist Exhibition of Paintings, 0.10 (Zero-Ten), in Petrograd, 19 December 1915 – 19 January 1916. Photograph private collection. Library of Congress Cataloging-in-Publication Data Names: Lodder, Christina, 1948- editor. Title: Celebrating Suprematism : new approaches to the art of Kazimir Malevich / edited by Christina Lodder. Description: Leiden ; Boston : Brill, [2019] | Series: Russian history and culture, ISSN1877-7791 ; Volume 22 | Includes bibliographical references and index. Identifiers: LCCN2018037205 (print) | LCCN2018046303 (ebook) | ISBN9789004384989 (E-book) | ISBN 9789004384873 (hardback : alk. paper) Subjects: LCSH: Malevich, Kazimir Severinovich, 1878-1935–Criticism and interpretation. | Suprematism in art. | UNOVIS (Group) Classification: LCCN6999.M34 (ebook) | LCCN6999.M34C452019 (print) | DDC 700.92–dc23 LC record available at https://lccn.loc.gov/2018037205 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. ISSN1877-7791 ISBN 978-90-04-38487-3 (hardback) ISBN 978-90-04-38498-9 (e-book) Copyright 2019 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher.
    [Show full text]