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216 × 138 × 25 mm
320 pages
155 illustrations, 63 in colour
01 Aug 2014

Kazimir Malevich The Climax of Disclosure Rainer Crone, David Moos

Kazimir Malevich (1878–1935) rose to instant prominence among the Russian avant-garde when, in December 1915, he contributed thirty-nine paintings to an exhibition in Leningrad which were of such a reduced and sophisticated abstract quality that even today they seem to possess a luminous conceptual power. Malevich’s sudden and startling realization of a non-objective way of painting – which he termed Suprematism – stands as a seminal moment in the history of 20th-century art.

In Kazimir Malevich: The Climax of Disclosure, now available in a compact pocket format, Rainer Crone and David Moos trace the artist’s development from his beginnings in Ukraine and early years in Moscow – where he was closely involved in the Futurist circle – through to the late 1920s and beyond. The authors demonstrate that it is only through a close and sustained reading of Malevich’s late – and still widely misunderstood – painterly œuvre that his extraordinarily inventive stance can truly be comprehended. Crone and Moos trace the close relationship between Malevich’s practice and other contemporary non-political revolutions in physics, linguistics and poetry. They present Malevich as a uniquely creative artist, embodying in his work many of the insights and discoveries that define the twentieth century and the condition of modern life.

‘There are nuggets of great value. Of most significance is the analysis of the usually neglected figurative paintings Malevich painted after his Supremacist excursions. The achievements of these final works are excellently revealed as a synthetic climax to his dual exploration of Being and the nature of art. The discussion of such works as the Self-portraits, Complex presentiment and Peasant woman is both lucid and illuminating.’ — Burlington Magazine

‘. . . reading it offers very real insight into the the difficulties of understanding the work of its subject.’ — Times Literary Supplement

‘It is clear the authors seek to create a totally new approach to the artist. Indeed, their ambitions go further they want to establish a new methodology for art history itself . . . these extensive visual examinations of the works are intelligent and instructive.’ — Slavonic and East European Review

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Rainer Crone is University Professor emeritus of Contemporary Art and History of Film at Ludwig Maximilian University in Munich, Germany.

David Moos is the former Curator of Contemporary Art at AGO Art Gallery of Ontario, Toronto, Canada.


1. Introduction: This Book…and the End of Experience
2. The Question of Information
3. Artistic Positions: A Critical Survey
4. Origins of a Painter
5. Cubo-Futurism: Interchanges
6. Passages through Poetry
7. The Edge of Innovation
8. Subjectivity in Temporality
9. Late Sensations and the New Reality

The Free Imaginary Variation

Photo Acknowledgements