Malevich paints, 1911-1920 : the seeing eye / Patricia Railing.

Format:

Book

Author/Creator:

Railing, Patricia.

Contributor:

Class of 1891 Department of Arts Fund.

Language:

English

Subjects (All):

Malevich, Kazimir Severinovich, 1878-1935.

Criticism and interpretation.

Malevich, Kazimir Severinovich, 1878-1935--Criticism and interpretation.

Malevich, Kazimir Severinovich.

Suprematism in art.

Genre:

Criticism, interpretation, etc.

Physical Description:

352 pages : illustrations (some color) ; 31 cm

Place of Publication:

London : Artists Bookworks, 2013.

Contents:

Machine generated contents note: Vision I Seeing

Sense of Sight

Scientific Foundations of Malevich's Painting

1. Sense of Sight

On "Sensation"

What Sensation Is

From Sensation to Sense Perception

Qualities Are Signs of Our Sensations

Local Signs

Painting as Sensation

2. Sense of Sight

Sensations of Light and Colour

Laws of Colour and Light

Light, Colours and the Three Light Primaries

Chromatic Palette of Light

Complementary Colours of Light

Simultaneous and Successive Contrasts of Colour Impacts of Luminosity on the Eye

Duration of the Sensation of Light

Afterimage

Optical, Spectral Laws of Colour

3. Sense of Sight

Sense Perceptions of Space

Principles of the Seeing Eye

Structures of Seeing

Seeing in the Plane

Position, Size, Direction in Direct and Indirect Vision

Visual Globe

Direct and Indirect Vision

Size and Position

Direction Seeing in Depth

"How" of Seeing

From Seeing to Painting: The New Artistic Principles

Hermann von Helmholtz, Quotation

Vision II Creating

Creating with Optical Phenomena

4. Painting with the Colours of Light, Structuring as the Eye Sees

Pictorial Plane of Fixation

Creating with the Principles of Seeing in 1912

Duration

Seeing Objects in Space

Paintings

Seeing Objects in Movement

New Artistic Device

Displacement and Dynamic Decomposition

Experiments with the Static and the Dynamic

5. Cubism as Sense Perception

Parisian Cubist Vision

The New Creative Principles

Discovering the Cubist Method

Cubist and Cubo-Futurist Vision in Russia in 1913

Parisian Cubism in Russia

Russian Cubo-Futurists and Cubists

Malevich's Cubo-Futurist and Cubist Painting

Fourth Dimension of Vision: Simultaneous Space and Time

Creating Cubo-Futurism and Cubism in 1913on Device of Dissonance

Structuring in Two Dimensions in the Plane

Adding the Third Dimension

Creating in the Fourth Dimension

The Transrational and the Alogical in 1914

Through the Dimensions

6. Suprematism as Pure Sensation

Suprematist Iconography: A System of Signs of Optical Sensations

Sign is Non-Objective

Colour Masses in Movement in 1915

Direct Vision

Composite Compositions

Indirect Vision

Size, Position, Direction, Distance, Relationships

Illusions of Movement

Illusions of Relationships

Separating the Spectrum

Suprematist Painting as Duration

Name "Suprematism"

Suprematist Palette

"The Joy of Colour" and the Artistic Sensation

Composing with Luminosity, 1916 to 1920

"Weight, Speed and Direction of Movement" in 1916 and 1917

Simultaneous and Successive Contrasts of Colour

"Suprconstructions of Colour" in 1917 and 1918 and a New Meaning of "Non-Objective

Projecting Light, 1917 to 1919

"Colourless Suprematism", 1918 to 1920

Colour, Light and Force as Pure Sensation

Sensation as Such

Vision III Thinking

7. From Method to a Philosophy of Creativity

Problem of Formalism

Principles of Formalism: The Morphological Method

Malevich and the Formal Method.

Notes:

Includes bibliographical references (pages 332-343) and index.

Local Notes:

Acquired for the Penn Libraries with assistance from the Class of 1891 Department of Arts Fund.

ISBN:

0946311218

9780946311217

OCLC:

865654046