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Kasimir Malewitsch. Die gegenstandslose Welt. München: Albert Langen, 1927 (Bauhausbücher; 11)

“The series of fourteen dust jackets is notable for its elegance and its masterful formal vocabulary, as well as for its swift artistic development in the latter half of the 1920s. It may be ranked as one of the foremost works of avant-garde typography from the Bauhaus (...) That Moholy-Nagy could succeed, in dust jackets for books by Kazimir Malevich, Walter Gropius, Paul Klee, Piet Mondrian, and Theo van Doesburg -to name only the most dominant figures- in condensing the authors' entire artistic oeuvres and their respective complex programs into symbols of great simplicity -this is among the greatest achievements of interpretation and distillation in the art history of the twentieth century. In Malevich's manuscript, for example, Moholy-Nagy found illustration 73, Contrasting Suprematist Elements, and, through minor optical adjustments, transformed this work of art, comprised of a square, cross, and circle, into the graphic emblem of timeless power that appears on the book's cover.”

Florian Illies. "The Bauhaus books as aesthetic program: the avant-garde in a format of 23x18". Bauhaus: a conceptual model. Ostfildern: Hatje Cantz, 2009 (p. 234)

“Apart from Kandisnky, who was a member of the Bauhaus staff, there was only one volume written by a russian author, Die gegenstandslose Welt (The Non-Objective World) by Kasimir Malevich, an abstract and metaphysical work published in 1927 as the eleventh volume of the series (...) This was his first book published in a foreign language, and certainly the most important. It was easy for the masters of De Stijl to address the public of several countries; but for a painter living in the Soviet Union and writing only in Russian to be published in the Bauhaus series was of exceptional importance.”

Krisztina Passuth. Moholy-Nagy. London: Thames and Hudson, 1985 (p. 44)

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