[Jean (Hans) Arp] Untitled (Collage with squares arranged according to the laws of chance), 1917 - Jean Arp and other Dada artists embraced chance as a tool for liberating creativity from rational thought. An account by his friend and fellow artist Hans Richter describes how Arp made “chance collages” like this one. Apparently frustrated with a drawing he had been working on for some time, Arp  “[. . .] finally tore it up, and let the pieces flutter to the floor of his studio [. . . .] Some…

[Jean (Hans) Arp] Untitled (Collage with squares arranged according to the laws of chance), 1917 - Jean Arp and other Dada artists embraced chance as a tool for liberating creativity from rational thought. An account by his friend and fellow artist Hans Richter describes how Arp made “chance collages” like this one. Apparently frustrated with a drawing he had been working on for some time, Arp “[. . .] finally tore it up, and let the pieces flutter to the floor of his studio [. . . .] Some…

[Marc Chagall] Profile at the window, 1918 - Chagall's attachment to the 'real' world did not permit him to espouse the abstraction advocated by his fellow avant-garde teacher, Malevich, at the Vitebsk School of Art. Despite this his works of the later teens do contain references – albeit of a perhaps mocking nature – to geometric abstraction. These can be glimpsed in Chagall's quasi comical Profile at the Window, 1918, where the segmented structures and dynamic diagonal lines are employed…

[Marc Chagall] Profile at the window, 1918 - Chagall's attachment to the 'real' world did not permit him to espouse the abstraction advocated by his fellow avant-garde teacher, Malevich, at the Vitebsk School of Art. Despite this his works of the later teens do contain references – albeit of a perhaps mocking nature – to geometric abstraction. These can be glimpsed in Chagall's quasi comical Profile at the Window, 1918, where the segmented structures and dynamic diagonal lines are employed…

[Marc Chagall] The promenade, 1917 - Following his visit to Berlin in 1914, Chagall travelled home to Russia, intending to stay for a couple of months, however, the outbreak of War prevented his return to Paris. The most joyful event of the artist's return to Russia was his marriage to his fiancée Bella Rosenfeld in July 1915. Their marriage provoked a surge of creativity in Chagall and he embarked upon a major series of double portraits of himself and Bella, such as Lovers in Blue, 1914…

[Marc Chagall] The promenade, 1917 - Following his visit to Berlin in 1914, Chagall travelled home to Russia, intending to stay for a couple of months, however, the outbreak of War prevented his return to Paris. The most joyful event of the artist's return to Russia was his marriage to his fiancée Bella Rosenfeld in July 1915. Their marriage provoked a surge of creativity in Chagall and he embarked upon a major series of double portraits of himself and Bella, such as Lovers in Blue, 1914…

[Fernand Léger] La partie de carte, 1917

[Fernand Léger] La partie de carte, 1917

[Kazimir Malevich] Suprematist Composition - White on White, 1918

[Kazimir Malevich] Suprematist Composition - White on White, 1918

[Amedeo Modigliani] Red nude, 1917

[Amedeo Modigliani] Red nude, 1917

[Amedeo Modigliani] Portrait of Leopold Zborowski, 1918

[Amedeo Modigliani] Portrait of Leopold Zborowski, 1918

[Art Event] 0.10 Exhibition, 1915 - The Last Futurist Exhibition of Paintings 0.10 was presented by the Dobychina Art Bureau at Marsovo Pole, Petrograd, from 19 December 1915 to 17 January 1916. The exhibition inaugurated a form of non-objective art called Suprematism, introducing a daring visual vernacular composed of geometric forms of varying colour. This sort of geometric abstraction was distinct in the apparent kinetic motion and angular shapes of its elements. The mysterious number…

[Art Event] 0.10 Exhibition, 1915 - The Last Futurist Exhibition of Paintings 0.10 was presented by the Dobychina Art Bureau at Marsovo Pole, Petrograd, from 19 December 1915 to 17 January 1916. The exhibition inaugurated a form of non-objective art called Suprematism, introducing a daring visual vernacular composed of geometric forms of varying colour. This sort of geometric abstraction was distinct in the apparent kinetic motion and angular shapes of its elements. The mysterious number…

[Umberto Boccioni, Carlo Carrá, F. T. Marinetti, Luigi Russolo, Ugo Piatti] Sintesi futurista della guerra, 1915

[Umberto Boccioni, Carlo Carrá, F. T. Marinetti, Luigi Russolo, Ugo Piatti] Sintesi futurista della guerra, 1915

[Kazimir Malevič] Dynamic suprematism, 1916

[Kazimir Malevič] Dynamic suprematism, 1916

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