NEW TITLES

Impressionists’ Palettes of Lightmsotw9_temp0-16

68 pp 12 col plates, 12 mono illus

Dimensions 21.6 x 16.8 Paperback

Publication date: 1 October 2015  £8.65

ISBN 978-0-946311-00-2

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 colours, optical mixing, and the pigment-colour correspondences. It closes with colour swatches of the pigments, provided by the London artists’ colourmen, L. Cornelissen & Son.

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

17th Century Colour Palettes17th-Century-Cover-16

130 pp 16 col plates, 14 mono illus

Dimensions 21.6 x 16.8 Paperback

Publication date: December 2015  Price to be announced.

ISBN 978-0-946311-10-1

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.

1st Century Colour Palettes1st-Century-Cover-16

88 pp 12 col plates, 6 mono illus

Dimensions 21.6 x 16.8  Paperback

Publication date: December 2015  Price to be announced.

ISBN 978-0-946311-14-9

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.

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

Malevich Writesmalevich-writes
A Theory of Creativity
Cubism to Suprematism

Kazimir Malevich
Malevich Writes A Theory of Creativity
Cubism to Suprematism
Patricia Railing, Editor

With a grant from Artists Books and Writings Inc. New York

704 pp 115 mono illus

Publication date: October 2014 £40.00

ISBN 978-0-946311-08-8 Hardback

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 Cézanne to Suprematism is followed by a discussion of how consciousness and the environment influence artistic creativity in P. Railing, Malevich on Creativity.

SUPREMATISM • 34 Drawings (1920)

Suprematism New

Kazimir Malevich
Facsimile reprint
Patricia Railing, “Reading the 34 Drawings”

New Edition, 2014

64 pp, 2 illus 34 plates
Publication date: 14 July 2014 Paperback  £17.50
ISBN 978-0-946311-03-3

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.

 

MALEVICH PAINTS The Seeing Eye

With a grant from Artists Books and Writings, Inc. New Yorkmalevich paints cover
352 pp 138 col 80 mono illus.
Published  1 September 2013 Hardback £48
ISBN 978-0-946311-21-7

 

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.

This study merited Patricia Railing with the award of Diplôme national de docteur en philosophie / National Diploma of Doctor in Philosophy, “Très honorable avec félicitations du jury” / Very Honourable with Congratulations of the Jury” (With Distinction), University of Paris 1 – Sorbonne, in March 2013.

RELATED EXHIBITIONS 2013-2014

Stedelijk Museum, Amsterdam
KAZIMIR MALEVICH AND THE RUSSIAN AVANT-GARDE

19 October 2013 – 2 February 2014

Bundeskunsthalle, Bonn
KAZIMIR MALEVICH AND THE RUSSIAN AVANT-GARDE
11 March – 22 June 2014

Tate Modern, London
KAZIMIR MALEVICH
16 July – 26 October 2014