An introduction to the fourth dimension and its links with the oeuvre of Kazimir Malevich

An introduction to the fourth dimension and its links with the oeuvre of Kazimir Malevich

Following the publication of C.H. Hinton’s The Fourth Dimension in 1904, studies of this type began to take root both in scientific, mathematical and theosophical circles, giving rise to the interesting compendium of ideas contained in the subsequent publication of the same name by the Russian mathe...

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Translated title: Introducción a la cuarta dimensión y su relación con la obra pictórica de Kazimir Malevich
Journal Title: Quintana: Revista do Departamento de Historia da Arte
Author: Iñigo Sarriugarte Gomez
Traslated keyword:
Language: Undetermined
Get full text: https://revistas.usc.gal/index.php/quintana/article/view/1535
Resource type: Journal Article
Source: Quintana: Revista do Departamento de Historia da Arte; No 13 (Year 2014).
Publisher: Universidade de Santiago de Compostela
Usage rights: Reconocimiento - NoComercial - SinObraDerivada (by-nc-nd)
Categories: Social Sciences/Humanities --> Art
Abstract: Following the publication of C.H. Hinton’s The Fourth Dimension in 1904, studies of this type began to take root both in scientific, mathematical and theosophical circles, giving rise to the interesting compendium of ideas contained in the subsequent publication of the same name by the Russian mathematician and thinker P.D. Ouspensky. The influence of the Hinton-Ouspensky System would have a significant impact on many artists but especially on the work of Kazimir Malevich from 1913. His exchanges with Matiuchin were highly productive in allowing him to apply the fourth dimension in his paintings. From the designs of Victory Over the Sun in 1913 and the first alogist proposals through to the works presented at the “Last Futurist Exhibition: 0:10”, Malevich creates a formal and spatial body of work that sought to represent a zero space, a creative void where the parameters of perception areinverted as a means of moving us closer to a sphere that is more spiritual in nature than material.
Translated abstract: Desde que C.H. Hinton publica su libro La Cuarta Dimensión en 1904, estos estudios comienzan a germinar tanto en ámbitos científicos y matemáticos como teosóficos, produciéndose un interesante compendio de ideas en la posterior publicación del mismo título del matemático y pensador ruso P.D. Ouspensky. La influencia del sistema Hinton-Ouspensky tendrá una notable repercusión en la obra de Malevich a partir de 1913. Los intercambios de este último con Matiuchin fueron totalmente fructíferos para la posterior aplicación de la cuarta dimensión en su trabajo. Desde los diseños de La victoria sobre el sol (1913), pasando por las propuestas alogistas hasta llegar a las obras presentadas en la Última exposición futurista: 0:10, se va gestionando un corpus formal y espacial que intenta representar un espacio cero, es decir, una nada creadora, donde los parámetros de percepción quedan invertidos con la intención de acercarnos a una esfera más espiritual que material.