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Kazimir Malévitch : le suprématisme comme sensation pure

Abstract : Between 1911 and 1920, Kazimir Malevitch was discovering new artistic laws with which to create. Relying on Hermann von Helmholtz's, « Treatise on Physiological Optics (1856-1866), scientific laws of optical sensations (colour, light and movement) and optical structures of seeing were transformed into artistic laws. With them Malevitch created his Neo-Primitivist paintings (1911-1912), Proto-Cubist paintings (1912-1913), Futurist paintings (1912), Cubist paintings (1913-1914), and Suprematist paintings (1915-1920). Adapting scientific laws of vision to creative laws of painting is what accounts for Malevitch's innovations and artistic development, 1911-1920.These are entirely new discoveries about malevitch's creative processes, a subject investigated here for the first time. Divided into two parts, the first part consists of three chapters on the science of optical sensations, the laws of light and colour, and the laws of sense perceptions : how the eye sees direction, position, size and dimensions in the visual field. The second part consists of three chapters analysing how Malevitch explored sensation and sense perception in the Neo-Primitive and Proto-Cubist paintings, sense perception in Cubism, and, in Suprematism, the pure sensations of colour and light. With science providing the truths of vision, Kazimir Malevitch's paintings became the art of the seeing eye, and this is a major new contribution to the understanding of the painting of Kazimir Malevitch.
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Submitted on : Monday, April 9, 2018 - 12:05:10 PM
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Patricia Ann Railing. Kazimir Malévitch : le suprématisme comme sensation pure. Philosophie. Université Panthéon-Sorbonne - Paris I, 2013. Français. ⟨NNT : 2013PA010565⟩. ⟨tel-01761642⟩

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