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| Author(s): |
Angela Nucci
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Filosofia e Ciências Humanas |
| Defense date: | 2008-09-12 |
| Examining board members: |
Nelson Aguilar;
Claudia Valladao Mattos;
Elena Vássina
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| Advisor: | Nelson Aguilar |
| Abstract | |
The work of Kazimir Severinovich Malevich (1878-1935) makes up one of the most significatives accounts that relate not only to the fall of the traditional concepts of art and modernist vanguards birth, but also to the confrontation amongst the ideological strains which marked Russia in the first decades of the XX century. In this sense, the importance of his work is not restrained to an estrictly artistic sense, but it extends to a consistent to the period revolutionary ideals one, which vouched the artists a prominent role in the construction of the new soviet society. Almost as a rule, after the 1917 Revolution, the Russian vanguard artists pursued the creation of scientific research parameters within the art institutions, or, in short, the artistic knowledge systematization. The Theory of additional element in painting created by Malevich was the core of his pedagogical method. Based in a sound theoretical and practical production made on the course of his life, Malevich engendered a model capable of analyze different pictorical cultures of the XX century beginning, proposing the creative process desmistification in respond to the assumed unattainable form of the modern art, a production pertinent to this day, of concern not just in the art history realm, but in aesthetical education also. (AU) | |