The Russian artist Kazimir Malevich was one of the great figures of twentieth-century art, and a pioneer of abstraction, whose painting The Black Square of 1915 has become an icon of modernism. Yet he is a creative figure about whom much still remains to be elucidated. Soviet scholarship ignored him for decades, and Western scholars were inevitably only able to work with the limited visual and documentary material that was available to them. It was only after the fall of Communism in 1991 that access to such material became easier. This book represents the fruits of the research that has been conducted since then by a range of Russian and Western scholars who have been able to shed vital new light on the artist's life, his training, his art, his career, his relationships with other artists and movements, and his theories.

Celebrating Suprematism throws vital new light on Kazimir Malevich’s abstract style and the philosophical, scientific, aesthetic, and ideological context within which it emerged and developed. The essays in the collection, which have been produced by established specialists as well as new scholars in the field, tackle a wide range of issues and establish a profound and nuanced appreciation of Suprematism’s place in twentieth-century visual and intellectual culture. Complementing detailed analyses of The Black Square (1915), Malevich’s theories and statements, various developments at Unovis, Suprematism’s relationship to ether physics, and the impact that Malevich’s style had on the design of textiles, porcelain and architecture, there are also discussions of Suprematism’s relationship to Russian Constructivism and avant-garde groups in Poland and Hungary.

New Texts in the History of Philosophy Published in association with the British Society for the History of Philosophy The aim of this series is to encourage and facilitate the study of all aspects of the history of philosophy, including the rediscovery of neglected elements and the exploration of new approaches to the subject. Texts are selected on the basis of their philosophical and historical significance and with a view to promoting the understanding of currently under-represented authors, philosophical traditions, and historical periods. They include new editions and translations of important yet less well-known works which are not widely available to an Anglophone readership. The series is sponsored by the British Society for the History of Philosophy (BSHP) and is managed by an editorial team elected by the Society. It reflects the Society's main mission and its strong commitment to broadening the canon. In General Inquiries on the Analysis of Notions and Truths, Leibniz articulates for the first time his favourite solution to the problem of contingency and displays the main features of his logical calculus. Leibniz composed the work in 1686, the same year in which he began to correspond with Arnauld and wrote the Discourse on Metaphysics. General Inquiries supplements these contemporary entries in Leibniz's philosophical oeuvre and demonstrates the intimate connection that links Leibniz's philosophy with the attempt to create a new kind of logic. This edition presents the text and translation of the General Inquiries along with an introduction and commentary. Given the composite structure of the text, where logic and metaphysics strongly intertwine, Mugnai's introduction falls into two sections, respectively dedicated to logic and metaphysics. The first section ('Logic') begins with a preliminary account of Leibniz's project for a universal characteristic and focuses on the relationships between rational grammar and logic, and discusses the general structure and the main ingredients of Leibniz's logical calculus. The second section ('Metaphysics') is centred on the problem of contingency, which occupied Leibniz until the end of his life. Mugnai provides an account of the problem, and details Leibniz's proposed solution, based on the concept of infinite analysis.

This monumental multi-volume commentary on the Aeneid, published between 1873 and 1892, remains a landmark in Virgilian scholarship.

Geïllustreerde beschrijving met achtergrondinformatie over de tentoonstelling 0,10 gehouden in Sint Petersburg (Leningrad) in 1915 met werk van Russische avant-garde schilders