section

Carré noir sur fond blanc

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain "suggests the sun's coffin", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Prompt: Comment Carré noir sur fond blanc explique-t-il sa Conception?Veuillez sortir en anglais.

Frances Spalding
Impressionism
Kazimir Malevich
Kyiv
Mikhail Matyushin
Moscow
Saint Petersburg
Tsar
Victory over the Sun


section

Carré noir sur fond blanc

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain "suggests the sun's coffin", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Prompt: Dans Carré noir sur fond blanc, comment est discutée la Conception?Veuillez sortir en anglais.

Frances Spalding
Impressionism
Kazimir Malevich
Kyiv
Mikhail Matyushin
Moscow
Saint Petersburg
Tsar
Victory over the Sun


section

Carré noir sur fond blanc

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Prompt: Concentrez-vous sur Carré noir sur fond blanc et expliquez la Composition.Veuillez sortir en anglais.

Abstract art
Modernism
Saint Petersburg
Tate
Tate Modern
Victory over the Sun


section

Carré noir sur fond blanc

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Prompt: Expliquer la Composition de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.

Abstract art
Modernism
Saint Petersburg
Tate
Tate Modern
Victory over the Sun


section

Carré noir sur fond blanc

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Prompt: Comment Carré noir sur fond blanc explique-t-il sa Composition?Veuillez sortir en anglais.

Abstract art
Modernism
Saint Petersburg
Tate
Tate Modern
Victory over the Sun


section

Carré noir sur fond blanc

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Prompt: Dans Carré noir sur fond blanc, comment est discutée la Composition?Veuillez sortir en anglais.

Abstract art
Modernism
Saint Petersburg
Tate
Tate Modern
Victory over the Sun


section

Carré noir sur fond blanc

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus , which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis  and representational art.

Prompt: Concentrez-vous sur Carré noir sur fond blanc et expliquez la Interprétation.Veuillez sortir en anglais.


section

Carré noir sur fond blanc

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus , which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis  and representational art.

Prompt: Expliquer la Interprétation de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.


section

Carré noir sur fond blanc

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus , which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis  and representational art.

Prompt: Comment Carré noir sur fond blanc explique-t-il sa Interprétation?Veuillez sortir en anglais.


section

Carré noir sur fond blanc

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus , which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis  and representational art.

Prompt: Dans Carré noir sur fond blanc, comment est discutée la Interprétation?Veuillez sortir en anglais.


section

Carré noir sur fond blanc

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Prompt: Concentrez-vous sur Carré noir sur fond blanc et expliquez la Influence.Veuillez sortir en anglais.

Aryan
Avant-garde
Berlin
Grosse Kunstausstellung
Joseph Stalin
Modern art


section

Carré noir sur fond blanc

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Prompt: Expliquer la Influence de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.

Aryan
Avant-garde
Berlin
Grosse Kunstausstellung
Joseph Stalin
Modern art


section

Carré noir sur fond blanc

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Prompt: Comment Carré noir sur fond blanc explique-t-il sa Influence?Veuillez sortir en anglais.

Aryan
Avant-garde
Berlin
Grosse Kunstausstellung
Joseph Stalin
Modern art


section

Carré noir sur fond blanc

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Prompt: Dans Carré noir sur fond blanc, comment est discutée la Influence?Veuillez sortir en anglais.

Aryan
Avant-garde
Berlin
Grosse Kunstausstellung
Joseph Stalin
Modern art


section

Carré noir sur fond blanc

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Prompt: Concentrez-vous sur Carré noir sur fond blanc et expliquez la Condition.Veuillez sortir en anglais.


section

Carré noir sur fond blanc

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Prompt: Expliquer la Condition de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.


section

Carré noir sur fond blanc

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Prompt: Comment Carré noir sur fond blanc explique-t-il sa Condition?Veuillez sortir en anglais.


section

Carré noir sur fond blanc

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Prompt: Dans Carré noir sur fond blanc, comment est discutée la Condition?Veuillez sortir en anglais.


section

Carré noir sur fond blanc

Blanshard, Frances Bradshaw. "Retreat from Likeness in the Theory of Painting". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. "Unframe Malevich!: Ineffability and Sublimity in Suprematism". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. "Kazimir Malevich". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. "Black Square: Malevich and the Origin of Suprematism". Yale University Press, 2012

Prompt: Concentrez-vous sur Carré noir sur fond blanc et expliquez la Sources.Veuillez sortir en anglais.

Kazimir Malevich
Suprematism
Suprematism
Ukraine


section

Carré noir sur fond blanc

Blanshard, Frances Bradshaw. "Retreat from Likeness in the Theory of Painting". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. "Unframe Malevich!: Ineffability and Sublimity in Suprematism". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. "Kazimir Malevich". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. "Black Square: Malevich and the Origin of Suprematism". Yale University Press, 2012

Prompt: Expliquer la Sources de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.

Kazimir Malevich
Suprematism
Suprematism
Ukraine


section

Carré noir sur fond blanc

Blanshard, Frances Bradshaw. "Retreat from Likeness in the Theory of Painting". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. "Unframe Malevich!: Ineffability and Sublimity in Suprematism". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. "Kazimir Malevich". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. "Black Square: Malevich and the Origin of Suprematism". Yale University Press, 2012

Prompt: Comment Carré noir sur fond blanc explique-t-il sa Sources?Veuillez sortir en anglais.

Kazimir Malevich
Suprematism
Suprematism
Ukraine


section

Carré noir sur fond blanc

Blanshard, Frances Bradshaw. "Retreat from Likeness in the Theory of Painting". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. "Unframe Malevich!: Ineffability and Sublimity in Suprematism". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. "Kazimir Malevich". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. "Black Square: Malevich and the Origin of Suprematism". Yale University Press, 2012

Prompt: Dans Carré noir sur fond blanc, comment est discutée la Sources?Veuillez sortir en anglais.

Kazimir Malevich
Suprematism
Suprematism
Ukraine


subsection

Carré noir sur fond blanc

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Prompt: Dans le contexte de Carré noir sur fond blanc, expliquez la Versions et la Interprétation.Veuillez sortir en anglais.


subsection

Carré noir sur fond blanc

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Prompt: Expliquer la Versions concernant la Interprétation de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.


subsection

Carré noir sur fond blanc

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Prompt: Dans Carré noir sur fond blanc, comment la Versions de la Interprétation est-elle expliquée?Veuillez sortir en anglais.


subsection

Carré noir sur fond blanc

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Prompt: Décrivez les caractéristiques de la Versions dans la Interprétation de Carré noir sur fond blanc.Veuillez sortir en anglais.


section

amour

completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Prompt: Concentrez-vous sur amour et expliquez la Abstrait.Veuillez sortir en anglais.

Olympic Sculpture Park
Roy McMakin
Seattle


section

amour

completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Prompt: Expliquer la Abstrait de cette œuvre d'art, amour.Veuillez sortir en anglais.

Olympic Sculpture Park
Roy McMakin
Seattle


section

amour

completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Prompt: Comment amour explique-t-il sa Abstrait?Veuillez sortir en anglais.

Olympic Sculpture Park
Roy McMakin
Seattle


section

amour

completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.

Prompt: Dans amour, comment est discutée la Abstrait?Veuillez sortir en anglais.

Olympic Sculpture Park
Roy McMakin
Seattle


section

amour

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Prompt: Concentrez-vous sur amour et expliquez la Description.Veuillez sortir en anglais.

Crosscut.com
Seattle
Seattle Post-Intelligencer
The Seattle Times


section

amour

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Prompt: Expliquer la Description de cette œuvre d'art, amour.Veuillez sortir en anglais.

Crosscut.com
Seattle
Seattle Post-Intelligencer
The Seattle Times


section

amour

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Prompt: Comment amour explique-t-il sa Description?Veuillez sortir en anglais.

Crosscut.com
Seattle
Seattle Post-Intelligencer
The Seattle Times


section

amour

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".

Prompt: Dans amour, comment est discutée la Description?Veuillez sortir en anglais.

Crosscut.com
Seattle
Seattle Post-Intelligencer
The Seattle Times


section

amour

Prompt: Concentrez-vous sur amour et expliquez la Réception.Veuillez sortir en anglais.


section

amour

Prompt: Expliquer la Réception de cette œuvre d'art, amour.Veuillez sortir en anglais.


section

amour

Prompt: Comment amour explique-t-il sa Réception?Veuillez sortir en anglais.


section

amour

Prompt: Dans amour, comment est discutée la Réception?Veuillez sortir en anglais.