The Russian Experiment in Art 1863-1922 (Revised Edition) (World of Art)

The Russian Experiment in Art 1863-1922 (Revised Edition) (World of Art)

Language: English

Pages: 324

ISBN: 0500202079

Format: PDF / Kindle (mobi) / ePub

"Not only an indispensable contribution to the study of modern art, but also an illuminating study of modern Russia." ―Hilton Kramer, The Nation

When the original edition of this book was published, John Russell hailed it as "a massive contribution to our knowledge of one of the most fascinating and mysterious episodes in the history of modern art." It still remains the most compact, accurate and reasonably priced survey of sixty years of creative dynamic activity that profoundly influenced the progress of Western art and architecture. 256 illustrations, 21 in color




















in is revealed as a skimmed his public explanations of contemporary painting, to 'Rayonnism' as a 'Cubist' interpretation of 'Impressionism'], it is perceived out of time and in space - it gives rise to a sensation of what one may call, the 'fourth dimension', that is the length, width and thickness of the colour layers. These are the sole symbols of perception which emerge from this painting which is of another order. In this way painting parallels music while remaining itself. Here begins

highlighting. From gouache, Malevich has reverted to oil, and the rhythm of his brushstroke has become closer and covers the canvas with an even insistent rhythm, typical of all his later work. The scrubby outline of the Peasants in Church has been replaced in Woman with Buckets and a Child by a tiny dabbed brushstroke and the figures are cleanly and delicately delineated. This composition, although not exhibited at the 'Donkey's Tail' exhibition, is a direct continuation of Peasants in Church.

pictorial elements in their canvases, their colour, so important in Malevich's work, is quite unrelated. Up to his La Femme en Bleu, Leger's colour echoes the monochrome palette of the Cubists. In this and subsequent works he uses the primary colours and a brilliant green, with white highlighting to express a machine-like quality. His manner of execution also differs profoundly from Malevich at this date - 1909-14 - in his light, spare brush work, and typically French elegance. Malevich has no

Matiushin and a non-sense libretto by Kruchenikh. The sets and costumes were by Malevich. Both of these were produced in the Luna Park Theatre in Petersburg on consecutive evenings in December 191 3. After this, the Cubo-Futurist marriage of the poets and painters broke up and they proceeded to develop their own discoveries and experience in In tracing the individual anticipated events, and will therefore , their own media. was during these next four years that a school of abstract painting

collaborated on the essentially Petersburg World of Art magazine (which will be discussed in the next chapter) and took part in this group's exhibitions which brought together the artistic avant-garde of the 1890s. his close friend Mikhail Vrubel (1856was to prove the turning-point of Vrubel's artistic life. He had had a brilliant early career at the Petersburg Academy, which he entered in 1880. There it was his good fortune to be taught by Chistyakov, an outstanding draughtsman, a great

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