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Title: | Brezpredmetnost Malevičevega in brezsvetnostnost Reinhardtovega črnega kvadrata | Other Titles: | Nonobjectivity of Malevich’s and wordlilessness of Reinhardt’s black square | Authors: | Vidrih, Rebeka | Keywords: | Ad Reinhardt; Kazimir Malevič; črni kvadrat; črne slike; abstraktno slikarstvo; Kazimir Malevich; black square; black paintings; abstract painting | Issue Date: | 2019 | Publisher: | EUT Edizioni Università di Trieste | Source: | Rebeka Vidrih, "Brezpredmetnost Malevičevega in brezsvetnostnost Reinhardtovega črnega kvadrata", in "Slavica Tergestina 22 (2019/I)", Trieste, EUT Edizioni Università di Trieste, 2019, pp. 190-210 | Journal: | Slavica Tergestina | Abstract: | Čeprav je Ad Reinhardt kot izhodišče za svoje abstraktno slikarstvo izpostavljal bolj Mondriana kot Maleviča, je podobnost Reinhardtovih »črnih« slik z Malevičevim Črnim kvadratom na belem polju očitna. Podobnost ne zgolj po formalni plati, v liku kvadrata črne barve, temveč tudi v obilju misli, ki spremljajo ter dopolnjujejo Reinhardtove in Malevičeve slike, v obilju besednega pojasnjevanja, upravičevanja dejanja izničevanja in izničenja, ki ga črni kvadrat zastopa oziroma opravlja pri enem in pri drugem. Kaj pomenita torej Malevičev poziv k »brezpredmetnosti«, k premagovanju narave (sveta, kot ga poznamo) z umetnostjo, ter Reinhardtovo priseganje na avtonomijo umetnosti, negiranje, izganjanje narave in sveta iz umetnosti, priseganje na njeno »brezsvetnostnost«? The similarity between Ad Reinhardt’s »black« paintings and Malevich’s Black square on a white field is plain, even though Reinhardt considered Mondrian rather than Malevich the key reference for his abstract painting. Similarity surpasses mere form, a shape of a square of black colour, for it also exists in the abundance of verbal explanation, justification of the act of nullifying and of negation, which is represented or performed by a black square in Malevich’s and Reinhardt’s art respectively. What does, then, Malevich’s appeal to »nonobjectivity«, to overcoming of the nature (the world as we know it) with art on the one hand, and Reinhardt’s swearing on the autonomy of art, on the exorcising the nature and the world from art, the swearing on the art’s »wordlilessness«, on the other hand, mean? |
Type: | Article | URI: | http://hdl.handle.net/10077/24690 | ISSN: | 1592-0291 | eISSN: | 2283-5482 | DOI: | 10.13137/2283-5482/24690 | Rights: | CC0 1.0 Universal |
Appears in Collections: | Slavica Tergestina 22 (2019/I) |
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