Kasimir Malevich’s treatise on Suprematism was included in the Bauhausbücher series in 1927, as was Piet Mondrian’s reflections on Russian Constructivism in 1925 (New Design, Bauhausbücher 5). Like Mondrian, who was never an official member of the Bauhaus, Malevich nevertheless had a close connection to the ideas of the school in terms of content. This volume 11 laid the foundation for the Russian avant-garde artist’s late work: to wrest the mask of life from the true face of art.

Kasimir Malevich’s treatise on Suprematism was included in the Bauhausbücher series in 1927, as was Piet Mondrian’s reflections on Russian Constructivism in 1925 (New Design, Bauhausbücher 5). Like Mondrian, who was never an official member of the Bauhaus, Malevich nevertheless had a close connection to the ideas of the school in terms of content. This volume 11 laid the foundation for the Russian avant-garde artist’s late work: to wrest the mask of life from the true face of art.

Kasimir Malevich’s treatise on Suprematism was included in the Bauhausbücher series in 1927, as was Piet Mondrian’s reflections on Russian Constructivism in 1925 (New Design, Bauhausbücher 5). Like Mondrian, who was never an official member of the Bauhaus, Malevich nevertheless had a close connection to the ideas of the school in terms of content. This volume 11 laid the foundation for the Russian avant-garde artist’s late work: to wrest the mask of life from the true face of art.