| Titre | Sur la mise en place du système architectural de Malevič | |
|---|---|---|
| Auteur | Patrick Vérité | |
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Revue | Revue des Etudes Slaves |
| Numéro | vol. 72, no 1-2, 2000 | |
| Rubrique / Thématique | Articles |
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| Page | 191-212 | |
| Résumé anglais |
About the Setting up of Malevič's architectural system
In 1924, at the fourteenth Venice Biennale, Malevič exhibits six 'planits' (the name he gives to his architectural drawings) together with paintings of a Black Square, a Black Cross and a Black Circle. An analysis of these works must consider them as an ensemble and as works in dialogue with one another. Within Malevič's suprematist system the straight line links the second and third dimensions. This straight line, the 'forming element' of his plastic system, is the key to analyzing the relations between Malevič's painting and his architectural drawings. Iťs the vector of his process. By compressing this line, Malevič constructs the square; the intersection of the two lines yields the cross; and by rotation of his prior configuration he arrives at the circle. Then transferred to the third dimension, this same element produces complex volumetric configurations. Malevič's architectural drawings place the spectator in 'aerial' space, each planit is viewed from below. At this point, his work passes beyond its purely visual role and enters into the spiritual sphere. The spectator is lifted out of terrestrial preoccupations and thus recognizes the philosophy of suprematist painting. Source : Éditeur (via Persée) |
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| Article en ligne | https://www.persee.fr/doc/slave_0080-2557_2000_num_72_1_6651 |
