This is the first study to investigate the sources of the creative processes in the painting of Kazimir Malevich, from Neo-Primitivism to Suprematism, 1911-1920. These sources are found in 19th century scientific investigations into optics, especially those of Hermann von Helmholtz, the artist adapting the laws of optical light and colour and the laws of optical structures of seeing in space and in depth to his painting. Malevich's creative processes culminated in his non-objective canvases, Suprematism, between 1915 and 1920, the painting of pure seeing.

A collection of 16 essays on the artist's painting and works for the theatre between 1910 and 1924. The essays explore the colour theories that gave rise to her abstract painting and the basic laws of structure that gave order to her Cubist, Simultaneist, Non-Objective painting and her stage and costume design. Contemporary accounts of her three plays, Famira Kifared, Salome, and Romeo and Juliet are included together with extracts from Alexander Tairov's, Notes of a Director (1921). The book closes with a detailed and illustrated Chronology of Exter's exhibitions and paintings.

A facsimile edition of Kazimir Malevich, SUPREMATISM 34 Drawings, was published in 1990 by Artists Bookworks accompanied by an introduction to the drawings by Patricia Railing; it is now out-of-print. This 2014 reprint of Malevich's little book contains a new translation from the Russian and a new introductory text by Patricia Railing, -Reading the 34 Drawings-. The Russian text and plates were scanned from an original copy and the size of this little book conforms to the lithographed Russian edition of 1920.

Collection of 30 texts, 1915-1928, & 3 facsimiles, some in first English translation, plus Nina Kogan on Cubism and Ilya Chashnik on Suprematism. Chronological sections trace Malevich's analyses of Cubism and Futurism, the Supremus Society of Artists, Suprematism Triumphant, UNOVIS, Theory of Creativity as Artistic Culture, and the Non-Objective World of Sensations. A presentation of sensations from Cezanne to Suprematism is followed by a discussion of how consciousness and the environment influence artistic creativity in P. Railing, Malevich on Creativity.

The French Impressionist painters discovered new means for painting light - they used a -solar palette-, the pigments matched to the colours the eyes see. They are the colours of a ray of light.

This little book reproduces palettes by several of the plein-air painters, describes the pigments they used, and includes short excerpts by the scientists whose work was the foundation of the new painting - complementary colors, optical mixing, and the pigment-color correspondences. It closes with color swatches of the pigments, provided by the London artists' colormen, L. Cornelissen & Son....

Ten 17th century writers described the pigments in use in their countries - England, Sweden, Flanders, France, Spain, and Italy. The theme of their treatises was studio practice and the pigments were discussed as they were set on the palette. Surprisingly, the method was the same - from light to dark, white to black. The 17th century palette was an international palette comprising just over 100 pigments.

This book will be of interest to art historians, collectors, students, conservators, and museum-goers.

The sources of pigments used in European painting are found in classical antiquity, and the over 40 pigments in use were described by Theophrastus, Vitruvius, Pliny the Elder, and Dioscorides. The principles of painting were also described by Pliny, to be picked up by Italian Renaissance painters of the 15th century, and they are discussed by the Editor. The pigments in the four extant treatises are described in full which, together with the artistic principles, make this little book a basic primary source for both classical painting and subsequent European painting. This book will be of...

Pigments described by the English chemist, Robert Dossie, the French artists' colourman, Jean Felix Watin, and the London-based pigment maker, Constant de Massoul. 18th century European painting saw the introduction of new pigments to the painters' palettes, from Prussian Blue to the early synthetics such as Patent Yellow. It was a century rich in pigments, the authors of the treatises listing over 150 pigments that could be bought in the shops in London and Paris.