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  • 1
    UID:
    almafu_BV047372529
    Format: 104 Seiten : , Illustrationen ; , 1 Faltblatt (foreword and commentary: Astrid Bähr) , 24 cm
    Edition: English edition
    ISBN: 978-3-03778-664-2 , 3-03778-664-7
    Series Statement: Bauhausbücher 11
    Uniform Title: Die gegenstandslose Welt
    Note: Rückseite Titelblatt: "Originally published in German under the title of "Die gegenstandslose Welt" by Albert Langen Verlag München in 1927, printed by Hesse & Becker Leipzg, printing blocks by C. Dünnhaupt Dessau. English edition, published by Lars Müller, based on the translation by Howard Dearstyne, 1959. Revised and copy-edited by Sarah Trenker, 2020.
    Language: English
    Keywords: 1879-1935 Malevič, Kazimir ; Malerei ; Suprematismus ; Bauhaus ; Bauhaus ; Abstrakte Malerei ; Theorie ; Ästhetik ; Quelle ; Quelle ; Bildband
    Author information: Malevič, Kazimir 1879-1935
    Author information: Bähr, Astrid 1968-
    Author information: Dearstyne, Howard 1903-1979
    Library Location Call Number Volume/Issue/Year Availability
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  • 2
    UID:
    kobvindex_INT0003844
    Format: 1 electronic resource (196, [8] pages) , illustrations (chiefly black and white)
    ISBN: No
    Series Statement: Bauhausbücher ; 09 (English translation)
    Uniform Title: Punkt und Linie zu Fläche : Beitrag zur Analyse der malerischen Elemente
    Content: "In this title Kandinsky analyzed the geometrical elements which make up every painting-the point and the line. He called the physical support and the material surface on which the artist draws or paints the basic plane, or BP. He did not analyze them objectively, but from the point of view of their inner effect on the observer. A point is a small bit of color put by the artist on the canvas. It is neither a geometric point nor a mathematical abstraction; it is extension, form and color. This form can be a square, a triangle, a circle, a star or something more complex. The point is the most concise form but, according to its placement on the basic plane, it will take a different tonality. It can be isolated or resonate with other points or lines. A line is the product of a force which has been applied in a given direction: the force exerted on the pencil or paintbrush by the artist. The produced linear forms may be of several types: a straight line, which results from a unique force applied in a single direction; an angular line, resulting from the alternation of two forces in different directions, or a curved (or wave-like) line, produced by the effect of two forces acting simultaneously. The book contains many photographic examples and drawings from Kandinsky's works which offer the demonstration of its theoretical observations, and which allow the reader to experience the inner effect of the point and line to plane."
    Content: "The first unavoidable question is, naturally, the question of the art elements) which are the building materials of works of art and which, as such, must be different in every art. We must at the outset distinguish basic elements from other elements, viz.-elements without which a work in any particular art cannot even come into existence. [...] This book will deal with two basic elements which are the very beginning of every work of painting, and without which this beginning is not possible. At the same time, they constitute the conclusive material for an independent kind of painting-graphic. We must, therefore, start here with the proto-element of painting-the Point. [...] The investigation should proceed in a meticulously exact and pedantically precise manner. Step by step, this 'tedious' road must be traversed-not the smallest alteration in the nature, in the characteristics, in the effects of the individual elements should escape the watchful eye. Only by means of a microscopic analysis can the science of art lead to a comprehensive synthesis, which will extend far beyond the confines of art into the realm of the 'oneness' of the 'human' and the 'divine.' [...] The aim of this small book is merely to point out, in a general and fundamental way, the 'graphic' basic elements viewed: 1. 'abstractly,' i.e. isolated from the objective environment of the material form of the material plane, and 2. on the material plane-the effect of the fundamental characteristics of this plane. But even this must be restricted to a rather superficial investigation-as an attempt to find a standard method in this scientific research of art and to test it in its use."
    Note: INDEX NOTE: includes index , Preface / Hilla Rebay -- Foreword -- Introduction -- Point -- Line -- Basic plane -- Appendix -- Index , LANGUAGE NOTE: translation from the German language edition: Punkt und Linie zu Fläche : Beitrag zur Analyse der malerischen Elemente. München, Germany : Albert Langen, 1926. (Bauhausbücher, Vol. 9, edited by Walter Gropius and L. Moholy-Nagy)
    Language: English
    Keywords: Handbooks and manuals
    URL: FULL
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  • 3
    UID:
    kobvindex_INT0000427
    Format: 146, [62] pages : , illustrations ; , 23.5 x 15.5 cm.
    Edition: Reprint of 1947 edition.
    ISBN: 9781614275466 (pbk.) , 1614275467 (pbk.)
    Series Statement: Bauhausbücher ; 09 (English translation)
    Uniform Title: Punkt und Linie zu Fläche : Beitrag zur Analyse der malerischen Elemente.
    Content: MACHINE-GENERATED SUMMARY NOTE: "2013 Reprint of 1947 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. In this title Kandinsky analyzed the geometrical elements which make up every painting-the point and the line. He called the physical support and the material surface on which the artist draws or paints the basic plane, or BP. He did not analyze them objectively, but from the point of view of their inner effect on the observer. A point is a small bit of color put by the artist on the canvas. It is neither a geometric point nor a mathematical abstraction; it is extension, form and color. This form can be a square, a triangle, a circle, a star or something more complex. The point is the most concise form but, according to its placement on the basic plane, it will take a different tonality. It can be isolated or resonate with other points or lines. A line is the product of a force which has been applied in a given direction: the force exerted on the pencil or paintbrush by the artist. The produced linear forms may be of several types: a straight line, which results from a unique force applied in a single direction; an angular line, resulting from the alternation of two forces in different directions, or a curved (or wave-like) line, produced by the effect of two forces acting simultaneously. The book contains many photographic examples and drawings from Kandinsky's works which offer the demonstration of its theoretical observations, and which allow the reader to experience the inner effect of the point and line to plane."
    Content: MACHINE-GENERATED SUMMARY NOTE: "We must at the outset distinguish basic elements from other elements, viz.-elements without which a work in any particular art cannot even come into existence. [...] This book will deal with two basic elements which are the very beginning of every work of painting, and without which this beginning is not possible. At the same time, they constitute the conclusive material for an independent kind of painting-graphic. We must, therefore, start here with the proto-element of painting-the Point. [...] The investigation should proceed in a meticulously exact and pedantically precise manner. Step by step, this 'tedious' road must be traversed-not the smallest alteration in the nature, in the characteristics, in the effects of the individual elements should escape the watchful eye. Only by means of a microscopic analysis can the science of art lead to a comprehensive synthesis, which will extend far beyond the confines of art into the realm of the 'oneness' of the 'human' and the 'divine.' [...] The aim of this small book is merely to point out, in a general and fundamental way, the 'graphic' basic elements viewed: 1. 'abstractly,' i.e. isolated from the objective environment of the material form of the material plane, and 2. on the material plane-the effect of the fundamental characteristics of this plane. But even this must be restricted to a rather superficial investigation-as an attempt to find a standard method in this scientific research of art and to test it in its use."
    Note: EDITORIAL NOTE: this translation first published as: Point and line to plane : contribution to the analysis of the pictorial elements. New York, NY, USA : Solomon R. Guggenheim Foundation, 1947, edited and prefaced by Hilla Rebay. , INDEX NOTE: includes index. , MACHINE-GENERATED CONTENTS NOTE: Preface / Hilla Rebay -- Foreword -- Introduction -- Point -- Line -- Basic plane -- Appendix -- Index. , LANGUAGE NOTE: translation from the German language edition: Punkt und Linie zu Fläche : Beitrag zur Analyse der malerischen Elemente. München, Germany : Albert Langen, 1926. (Bauhausbücher, Vol. 9, edited by Walter Gropius and L. Moholy-Nagy).
    Language: English
    Keywords: Handbooks and manuals
    URL: FULL
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  • 4
    UID:
    gbv_869867687
    ISBN: 3444100647
    In: Bauhaus und Bauhäusler, Stuttgart [u.a.] : Hallwag, 1971, (1971), Seite 186-187, 3444100647
    In: year:1971
    In: pages:186-187
    Language: German
    Author information: Dearstyne, Howard 1903-1979
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