Olga Vlagyimirovna Rozanova idézet

Olga Vlagyimirovna Rozanova: 4 idézetek 0 Kedvelés

Olga Vlagyimirovna Rozanova: Idézetek angolul

“The Bases of the New Creation and the Reasons Why It Is Misunderstood.”

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Olga Rozanova

the title of her essay, 1913; as quoted by Anya Wyman: 'Rediscovering Rozanova', 12 May, 2000 http://www.thecrimson.com/article/2000/5/12/rediscovering-rozanova-pmalevich-popova-kandinsky-chagall-these/
in her essay Rozanova describes the process of 'creation' in 3 stages: 1: the intuitive principle, 2: individual transformation of the visible, 3: abstract creation

“Only the absence of honesty and of a true love of art provides some artists with the affrontery to live on stale cans of artistic economics stocked up for years, and, year in year out, until they are fifty, to mutter about what they had first started to talk about when they were twenty.”

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Olga Rozanova

Quote, 1913, in 'Osnovy novogo tvorchestva i prichiny ego neponimaniia,', in 'Soiuz molodezhi' (St. Petersburg), March 1913, p. 20; translated in John E. Bowlt, The Russian Avant- Garde: Theory and Criticism; Thames and Hudson, London 1988, p. 109

“Principles heretofore unknown, signifying the emergence of a new era in creative work - an era of purely artistic achievements. An era of the final emancipation of the Great Art of Painting from Literary, Social, and crudely everyday attributes uncharacteristic of it at its core. The elaboration of this valuable world outlook is the service of our times, irrespective of idle speculation about how quickly the individual trends created by it will flash by.”

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Olga Rozanova

Olga Rozanova, in 'Osnovy Novogo Tvorchestva i printsipy ego neponimaniia,' Soiuz molodezhi 3 (March 1913), pp. 20-21; as quoted by Svetlana Dzhafarova, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932 (transl. Jane Bobko); Guggenheim Museum, New York, 1992, p. 477

“Opponents of the New Art fall back on this calculation, rejecting its self-sufficient meaning and, having declared it 'Transitional,' being unable even to understand properly the conception of this Art, lumping together Cubism, Futurism, and other phenomena of artistic life, not ascertaining for themselves either their essential differences or the shared tenets that link them.”

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Olga Rozanova

Olga Rozanova, in 'Osnovy Novogo Tvorchestva i printsipy ego neponimaniia,' Soiuz molodezhi 3 (March 1913), p. 18; as quoted by Svetlana Dzhafarova, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932 (transl. Jane Bobko); Guggenheim Museum, New York, 1992, p. 477
Olga Rozanova accused the critics and their brethren of bad faith, citing as a prime example Aleksandr Benua's "Kubizm ili Kukishizm" ("Cubism or Je-m'en-foutisme"), a scathing 1912 review