The Cezanne Effect in Malevich’s Suprematism

Maria Kokkori
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Abstract

This essay focuses on Paul Cezanne’s painting Madame Cezanne in a Yellow Chair, situating it within Kazimir Malevich’s theory and practices, and tracing how this work became emblematic in Malevich’s teachings on modern art. Cezanne’s painting represents two intersecting stories: one pertaining to the introduction of modernism in Russia, and the other relating to Malevich’s theory of the additional element in painting. Ultimately, the essay aims to show how this particular work brings these two narratives together, shedding light on the role of form, color, and texture in Cezanne’s work and their influence on Malevich’s Suprem-atism.
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马列维奇至上主义中的塞尚效应
这篇文章的重点是保罗-塞尚的油画《坐在黄椅子上的塞尚夫人》,将其置于卡齐米尔-马列维奇的理论和实践之中,并追溯这幅作品如何成为马列维奇现代艺术学说的象征。塞尚的画代表了两个相互交叉的故事:一个与现代主义在俄罗斯的引入有关,另一个与马列维奇关于绘画中附加元素的理论有关。最终,这篇文章旨在说明这幅特殊的作品是如何将这两个故事结合在一起的,揭示了塞尚作品中形式、色彩和质感的作用,以及它们对马列维奇的至上主义的影响。
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Note to the Reader How Cezanne Inspired Leningrad Nonconformism: The Art of Vladimir Shagin Картины Поля Сезанна в Собрании И. А. Морозова The Cezanne Effect in Malevich’s Suprematism По стопам Сезанна. Поездка Роберта Фалька в Экс-ан-Прованс в 1932 году
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