JVF Conference Papers
The aim of this article is to present the outcomes of my doctoral research on philosophical inspirations and borrowings in the early avant-garde art, emphasizing particularly – due to space limitations – its more general conclusions about the meaning of philosophy for the arts and vice versa.
First, I describe the underlying ideas and assumptions of the work; then, I briefly outline the methods and provide an example of their use in a close reading of Hegel and Malevich in the context of the latter’s famous Black Square painting; and finally, I move to the examination of the findings of my study in the field of art philosophy.
