Kasimir MalevichΓÇÖs treatise on Suprematism was included in the Bauhausb├╝cher series in 1927, as was Piet MondrianΓÇÖs reflections on Russian Constructivism in 1925 (New Design, Bauhausb├╝cher 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 artistΓÇÖs late work: to wrest the mask of life from the true face of art.
Point and Line to Plane can be seen as a continuation of Wassily KandinskyΓÇÖs seminal treatise On the Spiritual in Art. KandinskyΓÇÖs thesis is that different constellations of point, line and surface have different emotional effects on the viewer. Starting from the point (which represents the most concentrated and minimal graphic form), he understands all painterly forms as being a play of forces and counterforces: of contrasts.
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