Sentences with phrase «as suprematism»

He studied the writings of the great Russian painter Kasimir Malevich (1879 - 1935), an early pioneer of concrete art and founder of the modernist art movement known as Suprematism.

It has its source in movements as diverse as Suprematism and Constructivism, Brazilian Neo-Concretism, Arte Povera, and Conceptual Art.

The artist combines the purism of avant - garde movements such as Suprematism, with a totally modern expressionistic energy to create powerful abstract compositions.

In 1915, Kazimir Malevich revolutionized abstraction with the creation of his iconic art style known as Suprematism.

• SUPREMATISM (1913 - 18) Kasimir Malevich (1878 - 1935) Founder of abstract style known as Suprematism.

Peckham - based artist, graffiti writer and contemporary artist Remi Rough stands apart from other street art - leaning practitioners in that his work is often referred to as «visual symphonies», thanks to his keen eye for the geometrical treatment of form, colour, line and space, and inspired by avant - garde movements such as Suprematism and Italian Futurism.

Highly geometric abstraction could be found in such important early twentieth avant garde art movements as Suprematism, Constructivism, De Stijl, and Cubism.

Not exact matches

Also Italian Futurism inspired him, as well as French Cubism; both sources he used and combined for his own art options: Suprematism.

Constructivist artists were strongly inspired by technology and architecture (also criticized as only their inferior imitation, by the Russian artist Malevich, the founder of Suprematism).

As laudable as Kazimir Malevich: Suprematism is as an example of curatorial know - how, I can't help but wish that the same amount of care went in to a different show — one devoted to, say, the paintings of Bart van der Leck, a colleague of Mondrian's in de Stijl, or those of Ilya Bolotowsky, an American practitioner of Neo-PlasticisAs laudable as Kazimir Malevich: Suprematism is as an example of curatorial know - how, I can't help but wish that the same amount of care went in to a different show — one devoted to, say, the paintings of Bart van der Leck, a colleague of Mondrian's in de Stijl, or those of Ilya Bolotowsky, an American practitioner of Neo-Plasticisas Kazimir Malevich: Suprematism is as an example of curatorial know - how, I can't help but wish that the same amount of care went in to a different show — one devoted to, say, the paintings of Bart van der Leck, a colleague of Mondrian's in de Stijl, or those of Ilya Bolotowsky, an American practitioner of Neo-Plasticisas an example of curatorial know - how, I can't help but wish that the same amount of care went in to a different show — one devoted to, say, the paintings of Bart van der Leck, a colleague of Mondrian's in de Stijl, or those of Ilya Bolotowsky, an American practitioner of Neo-Plasticism.

Also featured in the exhibition will be a series of paintings based on memorabilia from the American punk scene of the 1970 - 80s and other works that use early Modernism as a starting point to address topics such as fascism, sex and boredom, which the artist likens to «Suprematism on poppers.»

Sensitively paced, scholarly yet not pedantic and respectful of the work, it illuminates the development and crystallization of Suprematism, an art that was to be (in Malevich's words) «the end and beginning where sensations are uncovered, where art emerges «as such.

LGBTQ rights, immigration, education, white - suprematism all came up as, of course, did gentrification.

And yet, though the early decades of 20th - century Russia have been firmly registered in today's art history as a time of radical social and artistic change, the uncompromising and often absurd ideas in Avant - Garde Museology appear alien to a contemporary art history that explains suprematism and constructivism in terms of formal abstraction.

Malevich formed a new philosophy that he called «Suprematism,» now often cited as the «zero point of painting.»

As expected, his artistic influences are based on avant - garde Russian and constructivist painters, Malevitch's Suprematism and color expression by the New York school of expressive abstraction.

In anticipation of the centennial of the Russian Revolution, this exhibition examines key developments and new modes of abstraction, including Suprematism and Constructivism, as well as avant - garde poetry, film, and photomontage.

Although the four exhibiting artists concentrate on Abstract Art, they refer to distinct art forms such as Futurism, Suprematism, and Op - Art.

Therefore, as Malevich made clear in his essays on Suprematism, «form equals feeling.»

Various geometrical shapes governed the production of the major avant - garde movements, such as Cubism, Futurism, and Suprematism.

In 1967 he began his collaboration with Studio Marconi in Milan, focusing on creating works that were a new interpretation of historical avant - gardes, such as Abstractionism, Suprematism, Constructivism and Neoplasticism.

In the history of Modernism, the concept of the «spiritual» as employed in Malevich's Suprematism has been more or less displaced by irony, as suggested in works by Ed Ruscha, Steven Parrino, Charles Ray, John Baldessari, and Banks Violette.

He laid the core concepts of Suprematism in the pamphlet «From Cubism and Futurism to Suprematism», published in 1915 on the occasion of the avant - garde exhibition in Saint Petersburg, where the now iconic «Black Suprematic Rectangle», or the «Black Square» as it's now known, was first exhibited.

The initial artistic movement in the Soviet period had been the Avant Garde led by artists such as Kazimir Malevich, Alexander Rodchenko and Mikhail Larionov and this incorporated neo-primitivsim, futurism, suprematism and constructivism.

The sculptors Naum Gabo and Antoine Pevsner joined the movement known as constructivism (c. 1913 — c. 1921), and the painter Casimir Malevich founded suprematism (1913).

Kazimir Malevich is known as the artist who laid down the foundations of Suprematism as he published its manifesto From Cubism to Suprematism.

Pure plasticity — the aesthetic «truth,» as it were — was expressed, if in different formal terms from those of Cubism, in the abstract expressionism of Wassily Kandinsky, the leader of Der Blaue Reiter («The Blue Rider») artists in Munich, Germany, in Kazimir Malevich's Suprematism, in Russian Constructivism, and in the geometric abstraction of Piet Mondrian and Theo van Doesburg of the Dutch De Stijl group.

It was then taken up by others, such as his compatriot Kasimir Malevich (1878 - 1935)- the inventor of Suprematism - who wrote (in 1919) «In referring to non-objectivity, I wish to make it clear that Suprematism is not concerned with things, objects, etc..»

(Suprematism, Constructivism, and De Stijl, the early avant - garde movements that were Minimalism's point of departure, had a conceptual dimension, as the theoretical writings of their artists make clear, but it was their rejection of representation in favour of pure abstraction that gave them their important place in the history of modern art, in the eyes of Greenberg.

These included the schools of Cubism (c.1907 - 1914), Suprematism (c.1913 - 18), Constructivism (1914 - 1920s), Vorticism (c.1913 - 17), Rayonism (c.1912 - 15), Orphism (c.1912 - 14), and De Stijl (1917 - 31), as well as the Bauhaus Design School (1919 - 1933).

Planned in anticipation of the centennial year of the 1917 Russian Revolution, the exhibition highlights breakthrough developments in the conception of Suprematism and Constructivism, as well as in avant - garde poetry, theater, photography, and film, by such figures as Alexandra Exter, Natalia Goncharova, El Lissitzky, Kazimir Malevich, Vladimir Mayakovsky, Lyubov Popova, Alexandr Rodchenko, Olga Rozanova, Vladimir and Georgii Stenberg, and Dziga Vertov, among others.

As the name suggests, it kicks off with the famous black square and the art movement Kazimir Malevich named suprematism, running right through to today's art.

This series marks a break with the complexity and large scale of my paintings and explores the strong influence Suprematism has played in my work and my development as an artist.