期刊名称：Hyperseeing / The International Society of the Arts, Mathematics, and Architecture
出版年度：2008
卷号：2008
页码：177-177
出版社：Albany, NY : Isama
摘要：Despite the essentially two-dimensional quality of his paintings, Kasimir Malevich referenced the fourth dimension in some of his seminal abstract paintings. Most art historians explain this by saying he sought to a
create the “feeling” of that dimension. The painter, however, had a keen, long-standing knowledge of geometry and exposure, as early as 1913, to some key illustrations by Claude Bragdon. A noted New York architect, set designer and writer, Bragdon’s works were carried to St Petersburg by the Russian theosophist P.D. Ouspensky, arguably the most widely read lecturer on the fourth dimension. The assertion of this paper is that Malevich’s allusions to the fourth dimension was the more concrete result of his knowledge of geometry coupled with his alogist approach to art, and catalyzed by Bragdon’s work
