KAZIMIR MALEVICH Book AVANT GARDE Hebrew ART CATALOGUE Israel JEWISH Vitebsk

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Kazimir Severinovich Malevich[nb 1] (23 February [O.S. 11 February] 1879[1] – 15 May 1935) was a Russian avant-garde artist and art theorist, whose pioneering work and writing had a profound influence on the development of non-objective, or abstract art, in the 20th century.[2][3][4][5] Born in Kiev to an ethnic Polish family, his concept of Suprematism sought to develop a form of expression that moved as far as possible from the world of natural forms (objectivity) and subject matter in order to access "the supremacy of pure feeling"[6] and spirituality.[7][8] Malevich is considered to be part of the Ukrainian avant-garde (together with Alexander Archipenko, Vladimir Tatlin, Sonia Delaunay, Aleksandra Ekster, and David Burliuk) that was shaped by Ukrainian-born artists who worked first in Ukraine and later over a geographical span between Europe and America.[9][10] Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism, and after visiting Paris in 1912, Cubism. Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His Black Square (1915), a black square on white, represented the most radically abstract painting known to have been created so far[11] and drew "an uncrossable line (…) between old art and new art";[12] Suprematist Composition: White on White (1918), a barely differentiated off-white square superimposed on an off-white ground, would take his ideal of pure abstraction to its logical conclusion.[13] In addition to his paintings, Malevich laid down his theories in writing, such as "From Cubism and Futurism to Suprematism" (1915)[14] and The Non-Objective World: The Manifesto of Suprematism (1926).[15][16] Malevich's trajectory in many ways mirrored the tumult of the decades surrounding the October Revolution (O.S.) in 1917.[17] In its immediate aftermath, vanguard movements such as Suprematism and Vladimir Tatlin's Constructivism were encouraged by Trotskyite factions in the government. Malevich held several prominent teaching positions and received a solo show at the Sixteenth State Exhibition in Moscow in 1919. His recognition spread to the West with solo exhibitions in Warsaw and Berlin in 1927. From 1928 to 1930, he taught at the Kyiv Art Institute, with Alexander Bogomazov, Victor Palmov, Vladimir Tatlin and published his articles in a Kharkiv magazine, Nova Generatsia (New Generation).[18] But the start of repression in Ukraine against the intelligentsia forced Malevich return to modern-day Saint Petersburg. From the beginning of the 1930s, modern art was falling out of favor with the new government of Joseph Stalin. Malevich soon lost his teaching position, artworks and manuscripts were confiscated, and he was banned from making art.[19][20] In 1930, he was imprisoned for two months due to suspicions raised by his trip to Poland and Germany. Forced to abandon abstraction, he painted in a representational style in the years before his death from cancer in 1935, at the age of 56. Nonetheless, his art and his writing influenced contemporaries such as El Lissitzky, Lyubov Popova and Alexander Rodchenko, as well as generations of later abstract artists, such as Ad Reinhardt and the Minimalists. He was celebrated posthumously in major exhibits at the Museum of Modern Art (1936), the Guggenheim Museum (1973) and the Stedelijk Museum in Amsterdam (1989), which has a large collection of his work. In the 1990s, the ownership claims of museums to many Malevich works began to be disputed by his heirs.[20] Contents 1 Early life 2 Artistic career 3 Suprematism 4 Post-revolution 5 International recognition and banning 6 Death 7 Polish ethnicity 8 Posthumous exhibitions 9 Collections 10 Art market 11 In popular culture 12 Selected works 12.1 Gallery 13 See also 14 Footnotes 15 Citations 15.1 References 16 External links Early life[edit] Kazimir Malevich, c.1900 Kazimir Malevich[21] was born Kazimierz Malewicz to a Polish family,[22][23][24] who settled near Kyiv in Kiev Governorate of the Russian Empire during the partitions of Poland.[19] His parents, Ludwika and Seweryn Malewicz, were Roman Catholic like most ethnic Poles,[2] though his father attended Orthodox services as well.[25] They both had fled from the former eastern territories of the Commonwealth (present-day Kopyl Region of Belarus) to Kyiv in the aftermath of the failed Polish January Uprising of 1863 against the tsarist army.[26] His native language was Polish, but he also spoke Russian,[27] as well as Ukrainian due to his childhood surroundings.[28] Malevich would later write a series of articles in Ukrainian about art.[25] Kazimir's father managed a sugar factory. Kazimir was the first of fourteen children,[19] only nine of whom survived into adulthood. His family moved often and he spent most of his childhood in the villages of modern-day Ukraine, amidst sugar-beet plantations, far from centers of culture. Until age twelve, he knew nothing of professional artists, although art had surrounded him in childhood. He delighted in peasant embroidery, and in decorated walls and stoves. He was able to paint in the peasant style. He studied drawing in Kyiv from 1895 to 1896. Artistic career[edit] Party, 1908 The Knifegrinder, 1912 Black Square, 1915, oil on linen, 79.5 × 79.5 cm, Tretyakov Gallery, Moscow[29] From 1896 to 1904, Kazimir Malevich lived in Kursk. In 1904, after the death of his father, he moved to Moscow. He studied at the Moscow School of Painting, Sculpture, and Architecture from 1904 to 1910 and in the studio of Fedor Rerberg in Moscow. In 1911, he participated in the second exhibition of the group, Soyuz Molodyozhi (Union of Youth) in St. Petersburg, together with Vladimir Tatlin and, in 1912, the group held its third exhibition, which included works by Aleksandra Ekster, Tatlin, and others. In the same year, he participated in an exhibition by the collective, Donkey's Tail in Moscow. By that time, his works were influenced by Natalia Goncharova and Mikhail Larionov, Russian avant-garde painters, who were particularly interested in Russian folk art called lubok. Malevich described himself as painting in a "Cubo-Futurist" style in 1912.[30] In March 1913, a major exhibition of Aristarkh Lentulov's paintings opened in Moscow. The effect of this exhibition was comparable with that of Paul Cézanne in Paris in 1907, as all the main Russian avant-garde artists of the time (including Malevich) immediately absorbed the cubist principles and began using them in their works. Already in the same year, the Cubo-Futurist opera, Victory Over the Sun, with Malevich's stage-set, became a great success. In 1914, Malevich exhibited his works in the Salon des Indépendants in Paris together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster, and Vadim Meller, among others.[citation needed] Malevich also co-illustrated, with Pavel Filonov, Selected Poems with Postscript, 1907–1914 by Velimir Khlebnikov and another work by Khlebnikov in 1914 titled Roar! Gauntlets, 1908–1914, with Vladimir Burliuk.[31][32] Later in that same year, he created a series of lithographs in support of Russia's entry into WWI. These prints, accompanied by captions by Vladimir Mayakovsky and published by the Moscow-based publication house Segodniashnii Lubok (Contemporary Lubok), on the one hand show the influence of traditional folk art, but on the other are characterised by solid blocks of pure colours juxtaposed in compositionally evocative ways that anticipate his Suprematist work.[33] In 1911, Brocard & Co. produced an eau de cologne called Severny. Malevich conceived the advertisement and design of the perfume bottle with craquelure of an iceberg and a polar bear on the top, which lasted through the mid-1920s.[34] Suprematism[edit] Suprematist works by Malevich at the 0.10 Exhibition, Petrograd, 1915 Супрематизм» Suprematism, oil on canvas, 1915 Russian Museum In 1915, Malevich laid down the foundations of Suprematism when he published his manifesto, From Cubism to Suprematism. In 1915–1916, he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916–1917, he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk, Aleksandra Ekster and others. Famous examples of his Suprematist works include Black Square (1915)[35] and White On White (1918). Malevich exhibited his first Black Square, now at the Tretyakov Gallery in Moscow, at the Last Futurist Exhibition 0,10 in Petrograd (Saint Petersburg) in 1915.[30] A black square placed against the sun appeared for the first time in the 1913 scenic designs for the Futurist opera Victory over the Sun.[30] The second Black Square was painted around 1923. Some believe that the third Black Square (also at the Tretyakov Gallery) was painted in 1929 for Malevich's solo exhibition, because of the poor condition of the 1915 square. One more Black Square, the smallest and probably the last, may have been intended as a diptych together with the Red Square (though of smaller size) for the exhibition Artists of the RSFSR: 15 Years, held in Leningrad (1932). The two squares, Black and Red, were the centerpiece of the show. This last square, despite the author's note 1913 on the reverse, is believed to have been created in the late twenties or early thirties, for there are no earlier mentions of it.[36] In 1918, Malevich decorated a play, Mystery-Bouffe, by Vladimir Mayakovskiy produced by Vsevolod Meyerhold. He was interested in aerial photography and aviation, which led him to abstractions inspired by or derived from aerial landscapes.[37] Some Ukrainian authors argue that Malevich's Suprematism is rooted in the traditional Ukrainian culture.[38][39] Post-revolution[edit] Suprematist Composition: White on White, 1918, Museum of Modern Art, New York After the October Revolution (1917), Malevich became a member of the Collegium on the Arts of Narkompros, the Commission for the Protection of Monuments and the Museums Commission (all from 1918–1919). He taught at the Vitebsk Practical Art School in Belarus (1919–1922) alongside Marc Chagall,[40] the Leningrad Academy of Arts (1922–1927), the Kyiv Art Institute (1928–1930),[41] and the House of the Arts in Leningrad (1930). He wrote the book The World as Non-Objectivity, which was published in Munich in 1926 and translated into English in 1959. In it, he outlines his Suprematist theories. In 1923, Malevich was appointed director of Petrograd State Institute of Artistic Culture, which was forced to close in 1926 after a Communist party newspaper called it "a government-supported monastery" rife with "counterrevolutionary sermonizing and artistic debauchery." The Soviet state was by then heavily promoting an idealized, propagandistic[42] style of art called Socialist Realism—a style Malevich had spent his entire career repudiating. Nevertheless, he swam with the current, and was quietly tolerated by the Communists.[43] International recognition and banning[edit] Boy, oil on canvas, 1928/1929 In 1927, Malevich traveled to Warsaw where he was given a hero's welcome.[23] There, he met with artists and former students Władysław Strzemiński and Katarzyna Kobro, whose own movement, Unism, was highly influenced by Malevich.[44] He held his first foreign exhibit in the Hotel Polonia Palace.[45] From there, the painter ventured on to Berlin and Munich for a retrospective which finally brought him international recognition. He arranged to leave most of the paintings behind when he returned to the Soviet Union. Malevich's assumption that a shifting in the attitudes of the Soviet authorities toward the modernist art movement would take place after the death of Vladimir Lenin and Leon Trotsky's fall from power was proven correct in a couple of years, when the government of Joseph Stalin turned against forms of abstraction, considering them a type of "bourgeois" art, that could not express social realities. As a consequence, many of his works were confiscated and he was banned from creating and exhibiting similar art. In autumn 1930, he was arrested interrogated by the KGB in Leningrad, accused of Polish espionage, and threatened with execution. He was released from imprisonment In early December.[28][46] Critics derided Malevich's art as a negation of everything good and pure: love of life and love of nature. The Westernizer artist and art historian Alexandre Benois was one such critic. Malevich responded that art can advance and develop for art's sake alone, saying that "art does not need us, and it never did". Death[edit] Sensation of an imprisoned man, oil on canvas,1930–31 When Malevich died of cancer at the age of fifty-seven, in Leningrad on 15 May 1935, his friends and disciples buried his ashes in a grave marked with a black square. They didn't fulfill his stated wish to have the grave topped with an "architekton"—one of his skyscraper-like maquettes of abstract forms, equipped with a telescope through which visitors were to gaze at Jupiter.[47] On his deathbed, Malevich had been exhibited with the Black Square above him, and mourners at his funeral rally were permitted to wave a banner bearing a black square.[43] Malevich had asked to be buried under an oak tree on the outskirts of Nemchinovka, a place to which he felt a special bond.[48] His ashes were sent to Nemchinovka, and buried in a field near his dacha. Nikolai Suetin, a friend of Malevich's and a fellow artist, designed a white cube with a black square to mark the burial site. The memorial was destroyed during World War II. The city of Leningrad bestowed a pension on Malevich's mother and daughter. In 2013, an apartment block was built on the place of the tomb and burial site of Kazimir Malevich. Another nearby monument to Malevich, put up in 1988, is now also situated on the grounds of a gated community.[48] Polish ethnicity[edit] Girl with a Comb in her Hair, 1933, oil on canvas, Tretyakov Gallery Malevich's family was one of the millions of Poles who lived within the Russian Empire following the Partitions of Poland. Kazimir Malevich was born near Kyiv[19] on lands that had previously been part of the Polish–Lithuanian Commonwealth[49] of parents who were ethnic Poles.[2] Both Polish and Russian were native languages of Malevich,[50] who would sign his artwork in the Polish form of his name as Kazimierz Malewicz.[51] In a visa application to travel to France, Malewicz claimed Polish as his nationality.[49] French art historian Andrei Nakov, who re-established Malevich's birth year as 1879 (and not 1878), has argued for restoration of the Polish spelling of Malevich's name. In 1985, Polish performance artist Zbigniew Warpechowski performed "Citizenship for a Pure Feeling of Kazimierz Malewicz" as an homage to the great artist and critique of Polish authorities that refused to grant Polish citizenship to Kazimir Malevich.[52] In 2013, Malevich's family in New York City and fans founded the not-for-profit The Rectangular Circle of Friends of Kazimierz Malewicz, whose dedicated goal is to promote awareness of Kazimir's Polish ethnicity.[49] Russian art historian Irina Vakar[28][46][53] gained access to the artist's criminal case and found that in some documents Malevich specified his nationality as Ukrainian.[28][46] Posthumous exhibitions[edit] Malevich, Portrait of Mikhail Matyushin, 1913 Alfred H. Barr Jr. included several paintings in the groundbreaking exhibition "Cubism and Abstract Art" at the Museum of Modern Art in New York in 1936. In 1939, the Museum of Non-Objective Painting opened in New York, whose founder, Solomon R. Guggenheim—an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art.[54] The first U.S. retrospective of Malevich's work in 1973 at the Solomon R. Guggenheim Museum provoked a flood of interest and further intensified his impact on postwar American and European artists.[54] However, most of Malevich's work and the story of the Russian avant-garde remained under lock and key until Glasnost.[19] In 1989, the Stedelijk Museum in Amsterdam held the West's first large-scale Malevich retrospective, including the paintings they owned and works from the collection of Russian art critic Nikolai Khardzhiev.[19] Collections[edit] Malevich's works are held in several major art museums, including the State Tretyakov Gallery in Moscow, and in New York, the Museum of Modern Art[19] and the Guggenheim Museum. The Stedelijk Museum in Amsterdam owns 24 Malevich paintings, more than any other museum outside of Russia.[19] Another major collection of Malevich works is held by the State Museum of Contemporary Art in Thessaloniki.[19] Art market[edit] Suprematist composition 1916, sold for US$85,812,500 Black Square, the fourth version of his magnum opus painted in the 1920s, was discovered in 1993 in Samara and purchased by Inkombank for US$250,000.[55] In April 2002, the painting was auctioned for an equivalent of US$1 million. The purchase was financed by the Russian philanthropist Vladimir Potanin, who donated funds to the Russian Ministry of Culture,[56] and ultimately, to the State Hermitage Museum collection.[55] According to the Hermitage website, this was the largest private contribution to state art museums since the October Revolution.[56] In 2008, the Stedelijk Museum restituted five works to the heirs of Malevich's family from a group that had been left in Berlin by Malevich, and acquired by the gallery in 1958, in exchange for undisputed title to the remaining pictures.[57] On 3 November 2008, one of these works entitled Suprematist Composition from 1916, set the world record for any Russian work of art and any work sold at auction for that year, selling at Sotheby's in New York City for just over US$60 million (surpassing his previous record of US$17 million set in 2000). In May 2018, the same painting Suprematist Composition 1916 sold at Christie's New York for over US$85 million (including fees), a record auction price for a Russian work of art.[58] Original Malevich-designed frost glass bottle with craquelure for "Severny eau de cologne" (1911–1922) In popular culture[edit] Malevich's life inspires many references featuring events and the paintings as players. The smuggling of Malevich paintings out of Russia is a key to the plot line of writer Martin Cruz Smith's thriller Red Square. Noah Charney's novel, The Art Thief tells the story of two stolen Malevich White on White paintings, and discusses the implications of Malevich's radical Suprematist compositions on the art world. British artist Keith Coventry has used Malevich's paintings to make comments on modernism, in particular his Estate Paintings. Malevich's work also is featured prominently in the Lars von Trier film, Melancholia. At the Closing Ceremony of the 2014 Winter Olympics in Sochi, Malevich visual themes were featured (via projections) in a section on 20th century Russian modern art. Selected works[edit] 1912 – Morning in the Country after Snowstorm 1912 – The Woodcutter 1912–13 – Reaper on Red Background 1914 – The Aviator 1914 – An Englishman in Moscow 1914 – Soldier of the First Division 1915 – Black Square 1915 – Red Square † 1915 – Black Square and Red Square †† 1915 – Suprematist Composition 1915 – Suprematism (1915) 1915 – Suprematist Painting: Aeroplane Flying 1915 – Suprematism: Self-Portrait in Two Dimensions 1915–16 – Suprematist Painting (Ludwigshafen) 1916 – Suprematist Painting (1916) 1916 – Supremus No. 56 1916–17 – Suprematism (1916–17) 1917 – Suprematist Painting (1917) 1918 – White on White 1919–26 – Untitled (Suprematist Composition) 1928–32 – Complex Presentiment: Half-Figure in a Yellow Shirt 1932–34 – Running Man † Also known as Red Square: Painterly Realism of a Peasant Woman in Two Dimensions. †† Also known as Black Square and Red Square: Painterly Realism of a Boy with a Knapsack - Color Masses in the Fourth Dimension. Gallery[edit] Flower Girl, 1903   Bathers, 1908   Winter, 1909   Taking in the Rye, 1911   Self-portrait, 1912   Head of a Peasant Girl, 1912-1913   Bureau and Room, 1913   Cow and Fiddle, 1913   Englishman in Moscow, 1914   Composition with the Mona Lisa, 1914   Black Circle, motive 1915, painted 1924, State Russian Museum, St. Petersburg, Russia   Suprematist Composition, painted in 1915   Red Square: Painterly Realism of a Peasant Woman in Two Dimensions, 1915   Suprematist Composition, 1916   Suprematist Painting: Eight Red Rectangles, 1915   Suprematism, Museum of Art, Krasnodar 1916   Untitled (Suprematist Composition), Solomon R. Guggenheim Museum, New York City, c. 1919-1926   Untitled (Suprematist Composition), Solomon R. Guggenheim Museum, New York City, c. 1919-1926   Black Square, c.1923, State Russian Museum, St. Petersburg, Russia   Black Cross, 1920s, State Russian Museum, St. Petersburg, Russia   Suprematism, 1921-1927   Boy, 1928-1932   Red-cavalry, 1928-1932   Summer Landscape, 1929   Mower, 1930   Running man, 1932   Complex Presentiment: Half-Figure in a Yellow Shirt, 1928-1932 See also[edit] List of Russian artists Sergei Senkin Oberiu UNOVIS Footnotes[edit] ^ Russian: Казими́р Севери́нович Мале́вич [kəzʲɪˈmʲir sʲɪvʲɪˈrʲinəvʲɪtɕ mɐˈlʲevʲɪtɕ]; Polish: Kazimierz Malewicz; Ukrainian: Казимир Северинович Малевич [kɐzɪˈmɪr seweˈrɪnowɪtʃ mɐˈlɛwɪtʃ]; Belarusian: Казімер Сэвэрынавіч Малевіч [kazʲiˈmʲɛr sɛvɛˈrɪnavʲit͡ʂ maˈlɛvʲit͡ʂ]; German: Kasimir Malewitsch.******  Kazimir Malevich - Biography and Legacy RUSSIAN PAINTER, SCULPTOR, AND STAGE DESIGNER Born: February 26, 1879 - near Kiev, Ukraine Died: May 15, 1935 - Leningrad, Soviet Union Movements and Styles: Suprematism, Constructivism, The Sublime in Art Kazimir Malevich MAIN BIOGRAPHY ARTWORKS Biography of Kazimir Malevich Childhood and Early Training Malevich was born in Ukraine to parents of Polish origin, who moved continuously within the Russian Empire in search of work. His father took jobs in a sugar factory and in railway construction, where young Kazimir was also employed in his early teenage years. Without any particular encouragement from his family, Malevich started to draw around the age of 12. With his mind set firmly on an artistic career, Malevich attended a number of art schools in his youth, starting at the Kiev School of Art in 1895. In 1904, Malevich moved to Moscow to attend the Stroganov School of Art. He also took private classes from Ivan Rerberg, an eminent art instructor. Malevich continued his training in the Moscow School of Painting, Sculpture, and Architecture, where such artists as Leonid Pasternak and Konstantin Korovin taught him Impressionist and Post-Impressionist techniques of painting. Malevich's early work was largely executed in a Post-Impressionist mode; however the influence of Symbolism and Art Nouveau on his early development was just as significant. Mature Period A shift toward decidedly more avant-garde aesthetics occurred in Malevich's work around 1907, when he became acquainted with such artists as Wassily Kandinsky, David Burliuk, and Mikhail Larionov. In 1910, Larionov invited Malevich to join his exhibition collective named the Jack of Diamonds. Malevich also held memberships in the artistic groups Donkey's Tail and Target, which focused their attention on Primitivist, Cubist, and Futurist philosophies of art. After quarreling with Larionov, Malevich took on a leading role in the association of the Futurist artists known as the Youth Union (Soyuz Molodezhi) based in Saint Petersburg, Most of the Malevich's works from this period concentrated on scenes of provincial peasant life. From 1912 to 1913, Malevich mostly worked in a Cubo-Futurist style, combining the essential elements of Synthetic Cubism and Italian Futurism, resulting in a dynamic geometric deconstruction of figures in space. In 1913, Malevich took part in one of the most significant artistic collaborations of modern times, creating set designs for the opera Victory over the Sun. In 1915, Malevich laid down the foundations of Suprematism when he published his manifesto, From Cubism to Suprematism, abandoning figurative elements in his painting altogether and turning to pure abstraction. The October Revolution of 1917 opened a new chapter for Malevich. In 1918, he joined the People's Commissariat for Enlightenment as an employee of its Fine Arts Department, known as IZO. The new agency was to administer museums and to oversee art education in the new Soviet Republic. Malevich also taught at the Free Art Studios (SVOMAS) in Moscow, instructing his students to abandon the bourgeois aesthetics of representation and to venture instead into the world of radical abstraction. That same year, Malevich designed the decorations for a performance of Vladimir Mayakovsky's Misteriya-Buffa, which marked the first anniversary celebration of the Communist Revolution. In 1919, Malevich completed the manuscript of his new book O Novykh Sistemakh v Iskusstve (On New Systems in Art) in which he attempted to apply the theoretical principles of Suprematism to the new state order, encouraging the deployment of avant-garde art in service to the state and its people. Later that year, however, Malevich left the capital for the town of Vitebsk, where he was invited to join the faculty of the local art school directed by Marc Chagall, and also El Lissitzky was on the faculty and ran the printing press. When Chagall left Vitebsk for Paris (or was effectively pushed out by the charismatic Malevich that developed a strong following), Malevich remained as the influential leader of the Vitebsk school. There he organized students into a group under the name of UNOVIS, an abbreviation, which could be translated as Affirmers of New Art. Quite particularly, the group was a collective where no individual signed a work with their own name, only with the name of the group. No longer focused on painting proper, the UNOVIS group, especially after its move to Petrograd in 1922, designed propagandistic posters, textile patterns, china, signposts and street decorations, reminiscent of the activities undertaken at the Bauhaus School in the German Weimar Republic. Malevich continued to develop his Suprematist ideas in a series of architectural models of utopian towns called Architectona. These maquettes were composed of rectangular and cubic shapes arranged to enhance their formal qualities and aesthetic potential. Malevich was allowed to take these models to exhibitions in Poland and Germany, where they sparked critical interest from local artists and intellectuals. Malevich left several Architectona models, as well as theoretical texts, paintings, and drawings in Germany after his hasty departure for Russia. In Soviet Russia, however, a different cultural paradigm was set in motion. The artistic flourish of the 1920s was curtailed by the advent of state-sponsored Socialist Realist art, which eventually came to suppress all other artistic styles. Late Years and Death Malevich and his work were doomed to descend into obscurity in such belligerently conservative socio-cultural circumstances. In 1930, Malevich was arrested and questioned about his political ideologies upon his return from a trip to the West. As a precautionary measure, the artist's friends burned some of his writings. In 1932, a major state-endorsed exhibition commemorating the 15th anniversary of the Bolshevik Revolution was held in Moscow and Leningrad (formerly Petrograd, and Saint Petersburg before that). Malevich was included, only now his paintings were accompanied by pejorative slogans, labeled as essentially "degenerate" and anti-Soviet. Barred from state schools and exhibition venues, in his late years the artist returned to old motifs of peasant and genre scenes, while also executing a number of portraits of friends and family. He died of cancer in Leningrad in 1935 and was buried in a coffin of his own design, with the image of the Black Square placed appropriately on its lid. Having previously been consigned to the basements of Soviet museums, it was only under Gorbachev in 1988 that Malevich's works were brought out and shown to the public. Before glastnost, there were only a few of Malevich's works available for viewing in America -- the ones available were the results of the extraordinary measures taken by New York's Museum of Modern Art's Alfred Barr, who smuggled 17 of Malevich's paintings - some of which were rolled up in his umbrella - out of Nazi Germany in 1935. The Legacy of Kazimir Malevich Malevich conceived of Suprematism prior to the 1917 Revolution, but its influence was already significant amongst the Russian avant-garde. Malevich's use of non-representational imagery and his interest in dynamic geometrical form in pictorial space influenced the art of Lyubov Popova, Alexander Rodchenko, and El Lissitzky. In 1922, the artist devised his three-dimensional Suprematist works, called arkhitektony, which were studies in architectural form. In Soviet Russia Socialist Realism become the only accepted style and in the country Malevich (and his abstraction ideas) was relegated to obscurity. Fortunately, some of Malevich's ideas were exported to the West through the exhibition of these Suprematist models for Utopian towns in Poland and Germany, where the avant-garde discourse would incorporate Malevich's theoretical perspectives on abstraction. Malevich made only one trip to the West in 1927, accompanied by a number of Suprematist canvases, which were exhibited at the Stedelijk Museum in Amsterdam, where they were subsequently seen by many European artists. In Warsaw, Malevich met with artists who had studied with him in Vitebsk, and whose work was heavily influenced by Malevich's monochrome works. More broadly, Malevich's influence is evident in the work of later artists in Europe and particularly the United States whose work consists of totally abstract shapes that represent technology, universality, or spirituality - all ideas stemming from Malevich. New York's Museum of Modern Art first director Alfred Barr purchased a large collection of his works. Via these routes, Malevich paved the way for many generations of later abstract artists - especially Ad Reinhardt and the Minimalists - to free themselves from reliance upon the real world. **** Kazimir Malevich Russian painter Print  Cite  Share  More WRITTEN BY The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... See Article History Alternative Title: Kazimir Severinovich Malevich RELATED TOPICS Latvia | History - Geography Brunei | History, People, Religion, & Tourism Netherlands | History, Flag, Population, Languages, Map, & Facts Guinea | History, Map, Flag, Language, People, & Facts Kazimir Malevich, in full Kazimir Severinovich Malevich, (born February 23 [February 11, Old Style], 1878, near Kiev—died May 15, 1935, Leningrad [now St. Petersburg]), Russian avant-garde painter, who was the founder of the Suprematist school of abstract painting. Malevich was trained at the Kiev School of Art, the Stroganov School in Moscow, and the Moscow School of Painting, Sculpture and Architecture. In his early work he followed Impressionism as well as Symbolism and Fauvism, and, after a trip to Paris in 1912, he was influenced by Picasso and Cubism. As a member of the Jack of Diamonds group, he led the Russian Cubist movement. In 1913 Malevich created abstract geometrical patterns in a manner he called Suprematism, a term which expressed the notion that colour, line, and shape should reign supreme over subject matter or narrative in art. From 1919 to 1921 he taught painting in Moscow and Leningrad, where he lived the rest of his life. On a 1927 visit to the Bauhaus in Dessau, Germany, he met Wassily Kandinsky and published a book on his theory under the title Die gegenstandslose Welt (“The Nonobjective World”). Later, when Soviet politicians decided against modern art, Malevich and his art were doomed. He died in poverty and oblivion. Malevich was the first to exhibit paintings composed of abstract geometrical elements. He constantly strove to produce pure cerebral compositions, repudiating all sensuality and representation in art. His well-known White on White (1918) carries his Suprematist theories to their logical conclusion. ****  Kazimir Malevich Biography Most widely known as the founder of Suprematism – an artistic and philosophical mode that believes Art should transcend subject matter – Kazimir Malevich’s writing and painting transformed the art historical canon of the 20th century, and formed the basis for abstract art. Malevich was born in Ukraine in 1879 to Polish parents, and the family moved frequently in search of employment. Because of the family’s multiple relocations, he studied at a number of schools before moving to Moscow in 1904, where he began formal training at the Stroganov School of Applied Arts. Throughout his studies, Malevich was exposed to a wide array of movements and styles, including Impressionism and Post-Impressionism, Symbolism and Art Nouveau. It was Malevich’s introduction to Expressionism and abstraction, namely through the work of Wassily Kandinsky and Mikhail Larionov, that caused his decided stylistic shift. He began reading literature on, and incorporating elements of, Cubism, Futurism and Primitivism. Works from this period of his career largely centered on everyday life, specifically scenes of peasantry. He also began experimenting with abstraction, culminating in his seminal work The Black Square of 1915, (which the New Yorker recently referred to as “the most famous, most enigmatic, and most frightening painting known to man.”). His philosophically inspired artistic inquiries effectively peaked with the October Revolution in 1917 — of which he joined the People’s Commissariat for Enlightenment, working in the Department of Fine Arts. Over the next few years, Malevich would write his seminal text, O Novykh Sistemakh v Iskusstve (On New Systems in Art), which would mark the advent of Suprematism. Although Malevich continued to work and teach his theories on art, including teaching alongside Marc Chagall in Vitebsk, Russia, the cultural state of Soviet Russia and the rise of government endorsed Social Realism relegated him to obscurity late in his career. The artistic repression he suffered under the new Russian regime culminated in the inclusion of his work in the 1932 state-sponsored exhibition of “degenerate art.” During his last years, he returned to genre painting, as he was banned from teaching or exhibiting within Russia. He died in Leningrad (today St. Petersburg) in 1935. Despite the disappointing reception of his work in Russia during the later part of his life, his paintings nonetheless have inspired subsequent generations of artists—from fellow Russians such as El Lissitzky and Alexander Rodchenko to Minimalists later on. READ LESS     ebay5383

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