Chapter 5. The square as regal infant
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Sara Pankenier Weld
Abstract
This chapter focuses on geometric regions that serve as shared “picture primitives” in Russian avant-garde art and early Soviet picturebooks for children to highlight the interrelatedness between the infantile art of the avant-garde and avant-garde work that actually involves an infantile audience. Examining work with infantile aspects by Kazimir Malevich, El Lissitzky, Vladimir Mayakovsky, and Vladimir Lebedev, Weld uses an interdisciplinary approach to juxtapose their work to children’s drawings, children’s perception, and children’s cognition to gain insight into their use of geometry and perspective and to raise new questions about the origin and impact of the avant-garde style.
Abstract
This chapter focuses on geometric regions that serve as shared “picture primitives” in Russian avant-garde art and early Soviet picturebooks for children to highlight the interrelatedness between the infantile art of the avant-garde and avant-garde work that actually involves an infantile audience. Examining work with infantile aspects by Kazimir Malevich, El Lissitzky, Vladimir Mayakovsky, and Vladimir Lebedev, Weld uses an interdisciplinary approach to juxtapose their work to children’s drawings, children’s perception, and children’s cognition to gain insight into their use of geometry and perspective and to raise new questions about the origin and impact of the avant-garde style.
Chapters in this book
- Prelim pages i
- Table of contents v
- Table of figures vii
- Introduction 1
-
Vanguard tendencies since the beginning of the twentieth century
- Chapter 1. John Ruskin and the mutual influences of children’s literature and the avant-garde 19
- Chapter 2. Einar Nerman – From the picturebook page to the avant-garde stage 45
- Chapter 3. Sándor Bortnyik and an interwar Hungarian children’s book 65
- Chapter 4. The forgotten history of avant-garde publishing for children in early twentieth-century Britain 89
-
The Impact of the Russian avant-garde
- Chapter 5. The square as regal infant 113
- Chapter 6. The 1929 Amsterdam exhibition of early Soviet children’s picturebooks 137
- Chapter 7. Rupture. Ideological, aesthetic, and educational transformations in Danish picturebooks around 1933 171
- Chapter 8. Mirror images 189
-
Postbellum avant-garde children’s books
- Chapter 9. Manifestations of the avant-garde and its legacy in French children’s literature 217
- Chapter 10. Just what is it that makes Pop Art picturebooks so different, so appealing? 241
- Chapter 11. Surrealism for children 267
- About the editors and contributors 285
- Subject Index 289
- Name Index 293
Chapters in this book
- Prelim pages i
- Table of contents v
- Table of figures vii
- Introduction 1
-
Vanguard tendencies since the beginning of the twentieth century
- Chapter 1. John Ruskin and the mutual influences of children’s literature and the avant-garde 19
- Chapter 2. Einar Nerman – From the picturebook page to the avant-garde stage 45
- Chapter 3. Sándor Bortnyik and an interwar Hungarian children’s book 65
- Chapter 4. The forgotten history of avant-garde publishing for children in early twentieth-century Britain 89
-
The Impact of the Russian avant-garde
- Chapter 5. The square as regal infant 113
- Chapter 6. The 1929 Amsterdam exhibition of early Soviet children’s picturebooks 137
- Chapter 7. Rupture. Ideological, aesthetic, and educational transformations in Danish picturebooks around 1933 171
- Chapter 8. Mirror images 189
-
Postbellum avant-garde children’s books
- Chapter 9. Manifestations of the avant-garde and its legacy in French children’s literature 217
- Chapter 10. Just what is it that makes Pop Art picturebooks so different, so appealing? 241
- Chapter 11. Surrealism for children 267
- About the editors and contributors 285
- Subject Index 289
- Name Index 293
