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Chapter 5:
Visualising the ‘Byzantine Malevich’
Introduction to “Byzantine Malevich” . . . . . . . . . . . . . . . . . . . . . . Introduction to Case Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . Case Study 1: Reinventing the Late Byzantine iconographic tradition . . . . . Case Study 2: A dissimilar similarity . . . . . . . . . . . . . . . . . . .... . Case Study 3: Malevich’s final return to the Byzantine
iconographical tradition as a retrospective iconological enquiry
into theological dimensions of his own painting . . . . . . . . . . .... . Case Study 4: Malevich’s Suprematism and its indicative theological aspects
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Case Study 5: A discussion with Ziogas’ “Byzantine Malevich” .
Chapter 6:
Mark Rothko and the Late Byzantine Experience
Introduction to Mark Rothko and the Late Byzantine Experience From Migration to Clairvoyance . . . . . . . . . . . . . . . . . . Rothko the Mystic . . . . . . . . . . . . . . . . . . . . . . . . . . On the Sacral Dimension of Rothko’s Work . . . . . . . . . . . . On the Influence of Nietzsche . . . . . . . . . . . . . . . . . . . A Late Byzantine and Theological Hypothesis . . . . . . . . . . On the Hybrid-Byzantine Light in Rothko’s Colour . . . . . . .
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Introduction to Visual Demonstrations Visual Demonstrations . . . . . . . . . The Late Byzantine Rothko . . . . . . .
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Conclusion.................. ..............
Appendix: Note on Andrew Spira, The Avant Garde Icon:
Russian avant-garde art and the icon painting tradition . . . . . . . . .
Bibliography . . Index of images Index....... Index of Artists
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