The aim of this book is to question a certain number of anti-modernist visual and cultural prejudices. Advancing ever further in his interpretation of the artist’s œuvre, Andréi Nakov uncovers hidden layers of a creative production that shows itself to be increasingly important to our comprehension of 20th-century modernity.
“Ever since it was presented in public, in December 1915, the Suprematist oeuvre has aroused a great deal of interest. Initially, this was a reaction of curiosity and surprise; immediately afterwards came the scrutiny of analysis and intellect, followed by incomprehension inevitably leading to rejection. Although Suprematism and the aesthetic ideas of Kazimir Malewicz were highly respected in the avant-garde circles of his country during the artist’s lifetime (and in Western Europe in the 1920s and 1930s), they were rejected and more often than not violently contested. This would remain the case for many, many years. Soon censored in Russia and even sooner forgotten, his oeuvre nevertheless survived the socio-political disasters of the last century. In the past fifty years or so it has returned to the forefront of the artistic and literary scene.”
From the Introduction
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