Description

Book Synopsis
Éva Forgács is adjunct Professor of Art History at Art Center College of Design in Pasadena, California, USA.

Table of Contents
List of Illustrations Acknowledgments List of Abbreviations Introduction 1. The sky is the limit: Malevich at the Vitebsk junction, 1919 2. The 8th Congress of the Bolshevik Party and El Lissitzky’s grasp of suprematism, 1919 3. Theo van Doesburg, artist and strategist 4. The irreconcilable conflict between constructivism and suprematism in Moscow 5. The Mirage of world revolution: Post-revolution, postwar Berlin and Moscow 1918-1922 6. As many narratives as narrators: Russian accounts of the new Russian art in the west 7. The First Russian Exhibition in Berlin, 1922, and its reception 8. Respectfully challenging the master: Lissitzky and Malevich 9. The book that was not. Van Doesburg’s thumbs-down on the Malevich volume 10. The book that was not. Van Doesburg’s thumbs-down on the Malevich volume 11. The Postwar Scene and The Stedelijk Museum, Amsterdam’s Malevich exhibition, 1957 12. The New Left’s role in retrieving the interwar avant-gardes and reclaiming the Russian Avant-Garde in the 1960s Notes Bibliography Index

Malevich and Interwar Modernism

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      Book details

      Publisher Bloomsbury
      Imprint Bloomsbury Visual Arts
      Published 13 January 2022
      ISBN-13 9781350204171
      978-1350204171
      ISBN-10 135020417X
      Also in:
      Theory of art

      Description

      Book Synopsis
      Éva Forgács is adjunct Professor of Art History at Art Center College of Design in Pasadena, California, USA.

      Table of Contents
      List of Illustrations Acknowledgments List of Abbreviations Introduction 1. The sky is the limit: Malevich at the Vitebsk junction, 1919 2. The 8th Congress of the Bolshevik Party and El Lissitzky’s grasp of suprematism, 1919 3. Theo van Doesburg, artist and strategist 4. The irreconcilable conflict between constructivism and suprematism in Moscow 5. The Mirage of world revolution: Post-revolution, postwar Berlin and Moscow 1918-1922 6. As many narratives as narrators: Russian accounts of the new Russian art in the west 7. The First Russian Exhibition in Berlin, 1922, and its reception 8. Respectfully challenging the master: Lissitzky and Malevich 9. The book that was not. Van Doesburg’s thumbs-down on the Malevich volume 10. The book that was not. Van Doesburg’s thumbs-down on the Malevich volume 11. The Postwar Scene and The Stedelijk Museum, Amsterdam’s Malevich exhibition, 1957 12. The New Left’s role in retrieving the interwar avant-gardes and reclaiming the Russian Avant-Garde in the 1960s Notes Bibliography Index

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