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Abstract |
The problem of the artist’s framing in the art of the avant-garde rarely becomes the subject of scientific research. This is mainly due to the peculiarity of the frames of the 20th century, which usually do not have rich decoration. Often in connection with the particularity of frames of the 20th century, specialists mistakenly believe that artists were not interested in the framing of their works. Meanwhile, the avant-garde artists chose frames for their works with great attention. The most valuable evidence of variation in the choice or creation of frames by the artists are the photographs of the exhibition ”Degenerative Art”, which displayed the works by V. Kandinsky, P. Klee and O. Schlemmer, created during their work at Bauhaus.
Often we know which frames the artists chose, but unfortunately, we do not know who created their design. This question requires a study. At present, it is absolutely clear that the new word in the design of frames in the 20th century was said by P. Mondrian and N. Suetin. While Mondrian was solving the local task of exhibiting his own works, for Suetin the problem of new frame designs was directly connected with the work on the “complete ensemble of modern style” begun in GINHUK under the leadership of Malevich. |
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