.jpg?w=1)
拍品专文
The compostition for this plate is after the painting 'Aeroplane Flying', by K. Malevich, 1915, which is now in the Museum of Modern Art, New York.
Kazimir Severinovich Malevich (1878-1935) was born near Kiev. From 1904-5 he studied at both the Stroganov school and the Moscow School of Arts. He was involved in the Moscow uprising of 1905, but not implicated. By 1915 he had developed a new system of art, explained in his booklet Ot kubizma i futurizma k suprematismu: Novyy zhivopisnyy realism (From Cubism and Futurism to Suprematism: the new realism in painting). The concept of purely aesthetic form within space was in union with Malevich's spiritual quest for 'pure sensaton in creative art'. Following the Revolution of 1917, Malevich was given a prominent teaching post at Vitebsk, Popular Art School, where in 1920 he published Suprematism, 34 drawings: 'The most important things in Suprematism - its two foundations - are the energy of black and white which serve to open up the form of action', 'red as the signal of revolution and white as pure action... symbol of purity of human creative life.'
In 1922 Malevich moved to Petrograd with the group he had formed, including Suetin. For the Suprematists white symbolised 'absolute' and porcelain was a perfect medium for the works of Malevich, produced through the State Porcelain Factory under 'n.600' in the following year. From this time onward Malevich wrote and taught, but, despite the State restictions placed on his work from the 1930's to 1950's, the spirit which inspired Constructivism and the resulting Modern movements, had been ignited.
L. Andreeva, op.cit., 1984, p.11)
for further information see also
L. Andreeva, op. cit. 1975, p.124.
D. Karshan, Malevich, the graphic work - 1913-1930 a print catalogue raisonné, Jerusalem, 1975, p.154
C. Gray, The Russian Experiment in Art 1917-1935, London, 1986, pl.130.
Kazimir Severinovich Malevich (1878-1935) was born near Kiev. From 1904-5 he studied at both the Stroganov school and the Moscow School of Arts. He was involved in the Moscow uprising of 1905, but not implicated. By 1915 he had developed a new system of art, explained in his booklet Ot kubizma i futurizma k suprematismu: Novyy zhivopisnyy realism (From Cubism and Futurism to Suprematism: the new realism in painting). The concept of purely aesthetic form within space was in union with Malevich's spiritual quest for 'pure sensaton in creative art'. Following the Revolution of 1917, Malevich was given a prominent teaching post at Vitebsk, Popular Art School, where in 1920 he published Suprematism, 34 drawings: 'The most important things in Suprematism - its two foundations - are the energy of black and white which serve to open up the form of action', 'red as the signal of revolution and white as pure action... symbol of purity of human creative life.'
In 1922 Malevich moved to Petrograd with the group he had formed, including Suetin. For the Suprematists white symbolised 'absolute' and porcelain was a perfect medium for the works of Malevich, produced through the State Porcelain Factory under 'n.600' in the following year. From this time onward Malevich wrote and taught, but, despite the State restictions placed on his work from the 1930's to 1950's, the spirit which inspired Constructivism and the resulting Modern movements, had been ignited.
L. Andreeva, op.cit., 1984, p.11)
for further information see also
L. Andreeva, op. cit. 1975, p.124.
D. Karshan, Malevich, the graphic work - 1913-1930 a print catalogue raisonné, Jerusalem, 1975, p.154
C. Gray, The Russian Experiment in Art 1917-1935, London, 1986, pl.130.