Word: maleviches
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...Folklore. Vasarely's debt to'Mondrian, Malevich and Seurat is apparent and acknowledged. But what Vasarely did was to build on the somewhat dry ideas of the Bauhaus and suffuse them with new life-the life of shifting perspectives, vibrant color harmonies and weighted geometric shapes. The deep, rich tonalities of such paintings as Chom and Axo-77, for which he often credits Hungarian folklore, are designed to give the viewer a sense of balance and wellbeing. In other works, like Ond-JG, the illusion of bulging forms acts as a magnetic force pulling the viewer into...
...squares, prophetic of the direction that Vasarely would take. It was not until after the war that the artist, spurred on by the enterprising Paris dealer Denise Rene, was able to devote himself full time to his art. He read numerous scientific volumes and decided that Mondrian and Malevich had written fini to easel painting. "Pure physics suddenly revealed itself before my dazed eyes as the new poetic source," he recalls. By 1955, he had developed an alphabet -"planetary folklore," he calls it-composed of geometric forms and basic colors capable of infinite arrangements...
Constructivism began in Russia as a spidery brand of pure and formal abstraction. Some proclaim Naum Gabo as its founder; some argue that his brother, Antoine Pevsner, has an equal claim; and some urge the case of Painter Kasimir Malevich. Now Stockholm's Modern Museum has mounted an exhibit of paintings, photographs and models designed to show that Vladimir Tallin (1885-1953) was the most constructive constructivist...
...Pablo Picasso's cubist collages. He returned to startle Moscow in 1915 with an exhibit of totally abstract collages made of tin, piping and paper. "Scandal!" cried the critics. Tatlin responded by coining the word constructivism, indicating that his art was essentially creative rather than destructive. Malevich, Gabo and others thereupon declared themselves constructivists...
Refound Ancestors. The art that followed-nonobjective, nonemotional and nonutilitarian-was, and for the most part still is, anathema to the common man. To the suprematists, it was an epochal breakthrough, even though Malevich later recalled that he felt "a kind of timidity bordering on fear when I was called upon to leave the world of will and idea in which I had lived and worked; but the blissful feeling of liberating nonobjectivity drew me into the desert, where nothing is real but feeling...