1978.84.6.A-B Text pages from "On New Systems in Art" | DMA Staging Content Management System

GENERAL DESCRIPTION

These pages are taken from Kazimir Malevich’s On New Systems in Art: Statics and Speed, a collection of his writings published in Vitebsk (in present-day Belarus) in 1919. This two-page spread reveals the book’s multiple functions: theoretical treatise, illustrated textbook, commentary on the progression of modern European painting from Impressionism to Futurism, and work of art. Familiar motifs of solid black squares and rectangles found in Malevich’s Suprematist paintings are scattered throughout the text. An image of his famous Black Square (1915) sits above the text on the left and behaves as a traditional illustration within a frame. On the right, smaller filled and outlined black rectangles are placed within the text like the decorative flourishes in medieval manuscripts. The book was hand printed by fellow Russian avant-garde artist El Lissitzky.

Excerpt from

Nicole Myers, DMA label copy, 2018.

NOTES

Created in 1919

Parent: On New Systems in Art (O Novykh sistemakh v Iskusstve- Stateka e Skorost) [ 5330056 ]

Catalogue essays

Artist/designers

Author - Kazimir Severinovich Malevich [ 193 ]

Printer - El Lissitzky [ 2107 ]

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Geography

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Transfer lithograph on paper

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WEB RESOURCES

Museum of Modern Art, New York~See more pages from On New Systems in Art: Statics and Speed.
Princeton University Library~Learn more about Kazimir Malevich and his revolutionary books.

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Apply to objects where number equals 1978.84.6.A-B

General Description

These pages are taken from Kazimir Malevich’s On New Systems in Art: Statics and Speed, a collection of his writings published in Vitebsk (in present-day Belarus) in 1919. This two-page spread reveals the book’s multiple functions: theoretical treatise, illustrated textbook, commentary on the progression of modern European painting from Impressionism to Futurism, and work of art. Familiar motifs of solid black squares and rectangles found in Malevich’s Suprematist paintings are scattered throughout the text. An image of his famous Black Square (1915) sits above the text on the left and behaves as a traditional illustration within a frame. On the right, smaller filled and outlined black rectangles are placed within the text like the decorative flourishes in medieval manuscripts. The book was hand printed by fellow Russian avant-garde artist El Lissitzky.