Malevich, Kazimir Severinovich
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Kazimierz Malewicz Kazimierz Malewicz
Birth name: Kazimir Severinovich Malevich
Date of birth: February 23, 1879 (1879-02-23) [1]
Place of birth: Russian Empire, Kiev
Date of death: May 15 1935(1935-05-15)[1][2] (56 years)
Place of death: USSR, Leningrad
Citizenship: Russian Empire Russian Empire
Citizenship: RSFSR
USSR USSR
Genre: painter
set designer
art theorist
teacher
Study: Fyodor Rerberg's studio (Moscow).
Style: Impressionism
expressionism
cubism
futurism
cubofuturism
suprematism
Influence on: Lyubov Popova
El Lissitzky
Works on Wikimedia Commons
Kazimir Severinovich Malevich (Polish.
Kazimierz Malewicz; February 11 (23), 1879[3], Kiev — May 15, 1935, Leningrad) was a Russian and Soviet avant garde artist of Polish origin, teacher, art theorist, philosopher.
The founder of suprematism — one of the earliest manifestations of abstract art of modern times.
Content
1 Biography 1.1 Origin 1.2 Life in Kursk (1896-1907) 1.3 Moving to Moscow (1907-1910) 1.4 1910-1919 1.5 1919-1935 1.6 Death and burial
2 Memory 3 Famous paintings 4 Exhibitions 4.1 Personal exhibitions 4.2 Collective exhibitions
5 Bibliography 5.1 Works of Kazimir Malevich 5.2 About Kazimir Malevich 5.2.1 Books 5.2.1.1 Albums, catalogs 5.2.1.2 Memoirs, correspondence, criticism 5.2.1.3 Monographs, collections of articles 5.2.1.4 Biographies
5.2.2 Articles
6 Filmography 7 Notes 8 References 9 See also
Biography[edit / edit wiki text]
Origin[edit / edit wiki text]
According to the entry in the parish register of the Kiev church of St. Alexander, Kazimir Malevich was born on February 11 (23), and baptized on March 1 (13), 1879 in the city of Kiev[3].
However, according to some sources, the year of his birth is 1878[4][5].
His father, Severin Antonovich Malevich (1845-1902) (a nobleman of the Volyn province of the Zhytomyr district), originally from the town of Turbovapodol province, served as a manager at the sugar factories of the famous industrialist Nikolai Tereshchenko.
Mother, Ludviga Alexandrovna (1858-1942), nee Galinovskaya, was a housewife.
They were married in Kiev on February 26, 1878 6].
By origin, the parents are Poles.
Kazimir became their first child.
The family had four more sons (Anton, Boleslav, Bronislav, Mieczyslaw) and four daughters (Maria, Wanda, Severina, Victoria).
In total, the Malevich couple had fourteen children, but only nine of them survived to adulthood.
The Malevich family was Polish, Polish was spoken at home in the family[6], Ukrainian was spoken in the environment[7]; subsequently, Malevich wrote a number of articles about art in Ukrainian[8].
Malevich's contemporaries considered him a Pole, and Kazimir Malevich himself referred to himself as Poles[4][9][10][11][12], but in the 1920s, during the so called korenization, Malevich wrote about himself as "Ukrainian" in some questionnaires and even tried to persuade his relatives to do this[6][8]; after being dismissed from the Kiev Art Institute, on the contrary, he stated: "I donot want to be a Ukrainian anymore."
Nevertheless, in the "Chapters from the artist's autobiography", written shortly before his death, he recalled himself and his best friend of the Kursk period, Lev Kvachevsky: "We were both Ukrainians"[8].
Some sources also look for the Belarusian roots of the artist's father[13].
Kazimir spent his childhood years in a Ukrainian village.
Until the age of 12, he lived in Moevka, Yampolsky district, Podolsk province, then in Parkhomovka, Volchka, Belopolye; then until the age of 17, he mainly stayed in Konotop.
In 1895-6, he attended the Kiev Drawing School of N. I. Murashko, studying with N. K. Pimonenko[8].
Life in Kursk (1896-1907)[edit / edit wiki text]
In 1896, the Malevich family moved to Kursk.
Here Kazimir worked as a draftsman in the Management of the Moscow Kursk Railway, simultaneously engaged in painting.
Together with his colleagues in spirit, Malevich managed to organize an art circle in Kursk.
Malevich was forced to lead a kind of double life — on the one hand, the daily worries of a provincial, an unloved and dreary service as a draftsman on the railway, and on the other, a thirst for creativity.
The house in which, as previously believed, K. Malevich lived in Kursk.
Pochtovaya str., 17
The house in which K. Malevich actually lived in Kursk.
Pochtovaya str., 13
In his Autobiography, Malevich himself called 1898 "the beginning of public exhibitions "(although no documentary information about this has been found).
In 1899, he married Kazimira Ivanovna Zgleits (Polish. Kazimiera Zglejc) (1881—1942).
The wedding took place on January 27, 1902 in Kursk in the Catholic Church of the Assumption of the Virgin[14][15].
In Kursk, the Malevich family rented a house (five rooms) at 17 Pochtovaya Street, owned by Anna Klein, for 260 rubles a year.
The building has survived to this day, but is under threat of destruction In 1904, he decided to change his life abruptly and move to Moscow, even though his wife was against it, since Malevich left her with the children in Kursk.
This marked a split in his family life.
On August 5, 1905, he first applied for admission to the Moscow School of Painting, Sculpture and Architecture.
However, he was not accepted into the school.
Malevich did not want to return to Kursk to his wife and children.
Then he settled in an art commune in Lefortovo.
Here, in the big house of the artist Kurdyumov, about thirty "communards" lived.
I had to pay for a room at seven rubles a month — very cheap by Moscow standards.
But six months later, in the spring of 1906, when the money for life ran out, Malevich was still forced to return back to Kursk, to his family and service in the Management of the Moscow Kursk Railway.
In the summer of 1906, he again applied to the Moscow School, but he was not accepted for the second time.
The house in Kursk, in which, as the public believed, Malevich lived (17 Pochtovaya Street), was dilapidated, the city hall was considering the demolition of this building.
Due to the negative reaction of the public, an expert commission was created, which came to the conclusion that archival materials prove that Kazimir Malevich did not live in the house No. 17 on Pochtovaya Street, which was in the center of everyone's attention.
The artist rented a house in the house of a hereditary noblewoman Anna Klein, who lived in the house number 13 on the same street[17].
It was decided to install a memorial plaque at the house No. 13 on Pochtovaya Street [18].
Moving to Moscow (1907-1910)[edit / edit wiki text]
In 1907, Kazimir Malevich's mother Ludwig Alexandrovna went to Moscow, finding a job as a canteen manager.
A few months later, having rented an apartment of five rooms, she sent her daughter in law an order to move with the whole family to Moscow.
Subsequently, Ludwig Alexandrovna rented a dining room on Tverskaya Street.
This dining room was robbed during the Christmas holidays of 1908.
The family's property was described and sold, and the Malevichi moved to furnished rooms in Bryusov Lane, and Ludviga Alexandrovna reopened the dining room in Naprudny Lane.
Three of the five rooms were occupied by Kazimir Malevich and his family (his wife and two children).
There, quarrels intensified and Kazimira Zgleits, taking both children, went to the village of Meshcherskoye and found a job as a paramedic in a psychiatric hospital.
After leaving there with a doctor, she left the children with one of the hospital employees.
From 1907 to 1910, Kazimir attended classes at the studio of F. I. Rerberg in Moscow.
In 1907, he took part in the XIV exhibition of the Moscow Association of Artists.
I met M. F. Larionov.
When Kazimir Malevich came to pick up the children, they were with the head of the household, Mikhail Ferdinandovich Rafalovich.
Rafalovich's daughter, Sofya Mikhailovna Rafalovich (Polish. Zofia Rafałowicz), soon became the common law wife of Kazimir Malevich (for several years Malevich could not get a divorce from his first wife).
In 1909, he divorced his first wife and married Sofya Mikhailovna Rafalovich (18? — 1925), whose father owned a house in Nemchinovka, where from now on Malevich constantly came to live and work.
1910-1919[edit / edit wiki text]
The first All Russian Congress of Futurists.
Mikhail Matyushin, Kazimir Malevich, Alexey Kruchenykh (from left to right) at Matyushin's dacha in Uusikirkko on July 18, 1913.
In the hands of the Twisted ones is a sketch of the cover of the collection "Three" by Malevich.
The author of the photo is Mikhail Matyushin.
In 1910, he took part in the first exhibition of the Jack of Diamonds.
In February 1911, he exhibited his works at the first exhibition of the Moscow Salon Society.
In April — May, he participated in the exhibition of the St. Petersburg "Union of Youth".
the year is 1912.
Malevich participated in the exhibitions of the "Union of Youth" and "Blue Rider" in Munich.
He exhibited more than twenty neo primitivist works at the Donkey's Tail exhibition in Moscow (the artist was part of the Donkey's Tail group of young artists).
I met M. V. Matyushin.
In 1913, Malevich took part in the" Debate on Modern Painting "in St. Petersburg, as well as in the" First Russian Evening of Speech Makers " in Moscow.
Participated in the exhibition "Target".
He designed a number of futuristic publications.
At the last exhibition of the "Union of Youth", he exhibited, along with neo primitivist works, paintings that he himself called" abstruse realism "and"cubo futuristic realism".
In December 1913, two performances of the opera "Victory over the Sun" took place in the St. Petersburg "Luna Park" (music by M. Matyushin, text by A. Kruchenykh, prologue by V. Khlebnikov, scenery and costume sketches by M. Malevich).
According to the memoirs of the artist himself, it was while working on the production of the opera that the idea of a "Black Square" came to him — the backdrop of the scenery of one of the scenes was a square half painted over with black.
February artists ("loshkari") Kazimir Malevich, Ivan Klyun, Alexey Morgunov (from left to right).
Moscow, March 1, 1914
In 1914, together with Alexey Morgunov, he staged an outrageous action on the Kuznetsky Bridge in Moscow, walking down the street with wooden spoons in his buttonholes.
He participated in exhibitions of the Jack of Diamonds society, the Salon of Independents in Paris.
Since the beginning of the First World War, he collaborated with the publishing house "Today's Lubok".
He illustrated books by A. Kruchenykh and V. Khlebnikov.
In 1915, he participated in the first futuristic exhibition "Tram B" in Petrograd.
He worked on the first Suprematist canvases.
He wrote the manifesto " From Cubism to Suprematism.
New Pictorial Realism", published by Matyushin.
At the "Last futuristic exhibition of paintings" 0,10" "he exhibited 39 works under the general title "Suprematism of painting".
Black square, 1915
The most famous painting by Malevich — The Black Square (1915) - was a kind of picturesque manifesto of suprematism.
It was first exhibited in Petrograd on January 1, 1916 (December 19, 1915 according to the old style) at the exhibition "0,10" and was a significant success.
The painting, according to the artist's plan, was part of a triptych, which included a "Black Circle" and a "Black Cross".
the year is 1916.
Malevich participated with the report "Cubism Futurism Suprematism" in the "Public popular Science lecture of Suprematists" organized jointly with I. A. Puni.
He took part in the exhibition"Shop".
He exhibited 60 Suprematist paintings at the Jack of Diamonds exhibition.
He organized the society "Supremus" (it included O. V. Rozanova, L. S. Popova, A. A. Exter, I. V. Klyun, V. E. Pestel, Nadezhda Udaltsova, Mstislav Yurkevich and others), prepared a magazine of the same name for publication.
In the summer, Malevich was called up for military service (he was demobilized in 1917).
In May 1917, Malevich was elected to the council of the professional Union of Artists of painters in Moscow as a representative from the left federation (the young faction).
In August, he became the chairman of the Art Section of the Moscow Council of Soldiers ' Deputies, was engaged in educational work, developed the project of the People's Academy of Arts.
In October, he was elected chairman of the Jack of Diamonds Society.
In November 1917, the Moscow Military Revolutionary Committee appointed Malevich as a commissioner for the protection of ancient monuments and a member of the Commission for the Protection of Artistic Values, whose duty was to protect the values of the Kremlin.
In the same year, he made a report at the debate "Fence painting and literature".
In 1918, he published articles in the magazine "Anarchy".
He was elected a member of the Art Board of the Department of Art of the People's Commissariat of Education.
He writes the "Declaration of the Rights of the Artist".
He moves to Petrograd.
Creates sets and costumes for the play by V. E. Meyerhold based on the play by V. V. Mayakovsky "Mystery Buff".
Participated in the meeting of the Commission on the organization of the Museum of Art Culture (MHC).
In 1919, he returned to Moscow.
He directed the "Workshop for the study of the new Art of Suprematism" in the Free State Art Workshops.
He exhibited Suprematist works at the X State Exhibition ("Non Objective Creativity and Suprematism").
1919-1935[edit / edit wiki text]
In November 1919, the artist moved to Vitebsk, where he began to lead a workshop at the People's Art School of the "new revolutionary model", which was headed by Marc Chagall.
In the same year, 1919, Malevich published a theoretical work "On new systems in Art".
In December, the first retrospective exhibition of the artist "Kazimir Malevich.
His path from Impressionism to Suprematism".
By 1920, a group of devoted students had formed around the artist — UNOVIS (Affirmers of New Art).
Its members were L. Lisitsky, L. Khidekel, I. Chashnik, N. Kogan.
Malevich himself practically did not create paintings during this period, focusing on writing theoretical and philosophical works.
Also, under the influence of El Lisitsky, the first experiments in the field of architecture began.
In 1920, Malevich delivered a lecture "On new Art" at the UNOVIS conference in Smolensk, supervised the work on the decorative design of Vitebsk for the 3rd anniversary of October.
In the same year, the artist had a daughter, whom he named Una in honor of UNOVIS.
the year is 1921.
He published the manifesto of UNOVIS in the Vitebsk magazine "Art".
He participated in an exhibition dedicated to the Third Congress of the Comintern in Moscow.
In 1922, Malevich finished work on his main theoretical and philosophical work - " Suprematism.
Peace as pointlessness or eternal peace."
In Vitebsk, his brochure " God is not thrown off.
Art, church, factory".
At the beginning of June 1922, the artist moved to Petrograd with several students members of UNOVIS.
He participated in the activities of the Petrograd Museum of Art Culture.
Malevich's works were exhibited at the First Russian Art Exhibition in Berlin.
In 1923, the second personal exhibition was held in Moscow the artist's exhibition dedicated to the 25th anniversary of his creative activity.
In the same year, he read a report at the State Academy of Art Sciences (GAKHN) in Moscow; he created sketches of new forms and decorative suprematist paintings for the Petrograd State Porcelain Factory.
In 1923, he was appointed acting director of the Petrograd Museum of Art Culture, and began research and teaching work there, surrounding himself with students who moved to Petrograd after him.
In 1924, the Moscow Art Theater was renamed, and from 1924 to 1926 Malevich was the director of the Leningrad State Institute of Artistic Culture[19] (GINHUK), he headed the formal theoretical department there.
On June 10, an article by G. Seroy" A monastery on state supply "was published in Leningradskaya Pravda, which served as a reason for the closure of GINHUK.
The collection of the Institute's works prepared for publication with Malevich's work "Introduction to the Theory of the Surplus Element in Painting"was canceled.
At the end of the year, GINHUK was liquidated, and from December 1926, GINHUK was merged with the GII, where Malevich and his associates continued working until their dismissal in June 1929.
In 1925, the artist read a report "On the surplus element in painting" at the GAKHN; participated in the exhibition "Left trends in Russian painting for 15 years"; worked on three — dimensional architectural suprematist models architectons.
He was a member of the" Association of Modern Architects " (OSA).
In 1926, he exhibited architectons at the annual reporting exhibition of Ginhuk.
In 1927, Kazimir Severinovich entered into a third marriage — with Natalia Andreevna Manchenko (1902-1990) [20].
From the beginning of his work in GINHUK until the end of his life, he lived with his family at the address: 2/9 Soyuz Svyaz Street, sq.
5 [21]
In 1927, Malevich went on a business trip abroad to Warsaw (March 8-29), where his personal exhibition was organized, then to Berlin (March 29 June 5), where he was given a hall at the annual Great Berlin Art Exhibition (May 7 September 30).
On April 7, 1927, he visited the Bauhaus in Dessau, where he met Walter Gropius and Laszlo Moha Nadem.
On June 5, he urgently returned to Leningrad, leaving the paintings on display at the exhibition, explanatory tables for lectures and theoretical notes in the care of the architect Hugo Hering (some of them currently belong to the City Museum of Amsterdam and MoMA).
The book "The World as a Non objective"was published in Munich.
In the same year, Malevich's works were exhibited at the exhibition of the Department of the Latest Trends in Art organized by N. N. Punin at the Russian Museum.
In 1928, he published articles in the Kharkiv magazine "New Generation".
While preparing for a solo exhibition at the State Tretyakov Gallery, the artist again turned to easel painting: since many of his works of the 1900s and 1910s were abroad by that time, he created a series of works of the "impressionist period" and dated them to 1903-1906; in the same way, he restored the works of the peasant cycle and dated them to 1908-1912.
Presumably, for the same exhibition, Malevich created a third version of the" Black Square", corresponding in its proportions to the picture of 1915.
This was done at the request of the gallery's directorate, since the work of 1915, which was stored at that time in the Tretyakov Gallery, was in rather poor condition.
From 1928 to 1930, Malevich taught at the Kiev Art Institute.
On November 1, 1929, the "Exhibition of Paintings and Graphics by K. S. Malevich"opened at the State Art Museum.
In the same year, Malevich's works were exhibited at the exhibition "Abstract and Surrealist Painting and Plastic" in Zurich.
In 1929, Malevich was appointed Lunacharsky "People's Commissar of the People's Commissariat of People's Commissariat of Education"[22].
In 1930, the artist's works were exhibited at exhibitions in Berlin and Vienna, an abbreviated version of the GTG exhibition opened in Kiev (February — May).
The department headed by Malevich was closed at the State Institute of Art History.
Before the start of the new academic year, Malevich was dismissed from the institute as a non partisan[8], and in the autumn of 1930 he was arrested by the OGPU as a "German spy".
He stayed in prison until December 1930, the case was conducted by V. A. Kishkin.
In 1931, he worked on sketches of the painting of the Red Theater in Leningrad.
In 1932, he received the position of head of the Experimental Laboratory at the Russian Museum.
The artist's works were included in the exhibition "Art of the Imperialist Era" in the Russian Museum.
In 1932, the artist participated in the anniversary exhibition "Artists of the RSFSR for XV years".
According to some experts, for this exhibition, the artist wrote the fourth, the last known version of the "Black Square" (now stored in the Hermitage).
In 1932, Malevich worked on an unfulfilled project the painting "Sotsgorod".
The last period in the artist's work began: at this time he painted mainly portraits of a realistic nature.
1933 a serious illness (prostate cancer) began.
1934 participated in the exhibition "Woman in socialist construction".
In 1935, Malevich's late portraits were exhibited at the First Exhibition of Leningrad artists (the last show of Malevich's works in his homeland was until 1962).
Death and burial[edit / edit wiki text]
Kazimir Malevich died in Leningrad on May 15, 1935.
Memorial sign in the area of the burial of K. Malevich's ashes, August 2013
Text on a Memorial Sign in the area of the burial of K. Malevich's ashes, August 2013
According to the will, after his death, Malevich's body was placed in a Suprematist coffin, in the form of a cross with outstretched arms, and was transported to Moscow, where it was cremated in the Don Crematorium.
On May 21, the urn with the ashes was buried under the artist's favorite oak tree near the village of Nemchinovka.
A wooden cubic monument with a black square was installed over the grave, a board was fixed on an oak tree with the words:"The ashes of the great artist K. S. Malevich (1878-1935) are buried here" [24].
During the war, the grave was lost.
Later, a group of enthusiasts determined its location with sufficient accuracy.
There was an arable collective farm field here.
Therefore, in 1988, a memorial sign to perpetuate the burial place was forced to be placed on the edge of the forest, about two kilometers from the real burial[24].
It is a white concrete cube with a red square on the front side.
Now there is a house number 11 on Malevich Street in Nemchinovka, geographical coordinates 55°43'17" s.
w.
37°20'17" vd / 55.721333° s.w.
37.338000° vd / 55.721333; 37.338000 (G) (O).
On the back of the monument there is a sign with the text: "On May 25, 1935, the ashes of the world famous artist KAZIMIR MALEVICH were buried in this area.
The sign was installed on 30.7.1988."
To date, the collective farm field has also been built up and the burial place of Malevich's ashes has fallen on the territory of the residential complex "Romashkovo 2"[25][26].
On August 20, 2013, Malevich's relatives took the land from the burial site, the land was placed in capsules, one of them will be buried under a memorial sign in Romashkov, the rest were transferred to places associated with the artist's life[27].
Memory[edit / edit wiki text]
In St. Petersburg, a memorial plaque was installed on the wall of the Myatlevs ' house, at 9 Isaakievskaya Square, where the GINHUK headed by K. S. Malevich was located, and where he lived from 1926 until his death in 1935, in 2002.
In September 2012, the deputies of the Kiev City Council supported the initiative of Professor Dmitry Gorbachev, art historian Artur Rudzitsky, president of the Association of European Journalists, to rename Bozhenko Street to Kazimir Malevich Street in Kiev.
It was on this Kiev street — then Bulonskaya — that K. Malevich was born in 1879.
The Malevich Society has been established in the USA, which supports many research projects, including Russian ones[28].
For example, with the assistance of the society, a study of early suprematism was published in Russia in 2009 — the book by Alexandra Shatskikh "Kazimir Malevich and the Supremus Society" [29].
In honor of Malevich, a postal block of Belarus was released in 2003.
Famous paintings[edit / edit wiki text]
Black Square White on white Black circle Red square Rides red Cavalry Suprematist composition sold on November 3, 2008 at Sotheby's for $60,002,000
Exhibitions[edit / edit wiki text]
Personal exhibitions[edit / edit wiki text]
1919 - " Kazimir Malevich.
His path from Impressionism to Suprematism", Moscow 1923 — Personal exhibition dedicated to the 25th anniversary of his creative activity, Moscow 1927 — Personal exhibition in Warsaw 1929 — "Exhibition of paintings and drawings by K. S. Malevich", Moscow, State Tretyakov Gallery 1930 — Personal exhibition in Kiev 1973 — "Kazimir Malevich", New York, the Solomon Guggenheim Museum (about 50 paintings from the collection of the Stedelijk Museum in Amsterdam, the MoMA Museum of Modern Art in New York and private collections) 1988 — "Kazimir Malevich. 1878-1935", Leningrad, Russian Museum, November 10 December 18, 1988-1989 — " Kazimir Malevich. 1878-1935", Moscow, Tretyakov Gallery, December 29, 1988 February 10, 1989 1989 - " Kazimir Malevich. 1878-1935", Amsterdam, Stedelijk Museum Amsterdam, March 5 May 29.
Russian Russian Museum, St. Petersburg, November 30, 2000 March 11, 2001 2003-2004 - " Kazimir Malevich: Suprematism "(Germany) 2013 - " Kazimir Malevich.
Before and After the Square", St. Petersburg, State Russian Museum, December 5, 2013 February 28, 2014 2014 - "Kazimir Malevich", Amsterdam, Bonn, London (Tate Modern, August 28 October 26) (about 400 works from 44 owners)[30]
Collective exhibitions[edit / edit wiki text]
1907 XIV exhibition of the Moscow Association of Artists 1910 - "Jack of Diamonds" 1911 the first exhibition of the society "Moscow Salon" 1911 exhibition of the St. Petersburg "Union of Youth" 1915 - "Tram B", Moscow, March 23 -.
1915 — "The last futuristic exhibition "0,10"".
2000-2001 — " Revolution in painting.
Kandinsky, Malevich and the Russian avant garde" (USA 4 cities) 2000-2001 — " In the Malevich Circle.
Colleagues.
Students.
Russian Russian Followers in the 1920s 1950s", St. Petersburg, State Russian Museum, November 30, 2000 March 26, 2001 2013-2014 - " Kazimir Malevich and the Russian Avant garde "(Amsterdam Bonn London; curated by Zelfira Tregulova)
Bibliography[edit / edit wiki text]
The writings of Kazimir Malevich[edit / edit wiki text]
Malevich K. V. Khlebnikov / / Creativity, 1991, No. 7, pp.
4-5.
Malevich K.
On the ladder of knowledge: From unpublished poems / Introduction by G. Aiga (1991, edition of 1000 copies) Malevich K. Laziness as the real truth of humanity.
With the appendix of the article by F. F. Ingold "Rehabilitation of idleness" / Preface and note by A. S. Shatskikh (1994, series "Library of Sergei Kudryavtsev", circulation of 25 nominal and 125 numbered copies) Malevich K. Collected works in 5 volumes.
Vol. 1. Articles, manifestos, theoretical works, etc. works.
1913-1929 / General ed., introductory article, comp., subg.
texts and comments by A. S. Shatskikh; section "Articles in the newspaper "Anarchy" (1918) — - publ., comp., podg.
text by A. D. Sarabyanov (1995, edition of 2750 copies) Malevich K. Collected works in 5 volumes.
Vol. 2. Articles and theoretical works published in Germany, Poland and Ukraine.
1924-1930 / Comp., preface, ed. of translations, comm.
L. Demosthenova; scientific ed. by A. S. Shatskikh (1998, edition of 1500 copies, additional edition of 500 copies) Malevich K. Collected works in 5 volumes.
Vol. 3. Suprematism.
The world as a pointlessness, or Eternal peace.
With the app.
letters of K. Malevich to M. O. Gershenzon.
1918-1924 / Comp., publ., introductory article, subg.
text, comm.
and note by A. S. Shatskikh (2000, edition of 1500 copies) Malevich K. Collected works in 5 volumes.
Vol. 4. Treatises and lectures of the first half of the 1920s.
With the appendix of the correspondence of K. S. Malevich and El Lissitsky / Comp., publ., introductory article, subg.
text, comm.
and note by A. S. Shatskikh (2003, edition of 1500 copies) Malevich K. Collected works in five volumes.
T 5.
Works of different years: Articles.
Treatises.
Manifestos and declarations.
Lecture projects, Notes and notes.
Poetry.
2004.
K. Malevich.
Black square.
St. Petersburg: Azbuka, Azbuka Atticus, 2012.
288 p., Series "Azbuka classic", 3000 copies, ISBN 978-5-389-02945-3
About Kazimir Malevich[edit / edit wiki text]
Books[edit / edit wiki text]
Albums, catalogs[edit / edit wiki text]
Marcadé Jean Claude, Marcadé Valentine.
Malevitch: Dessins.
— Galerie Jean Chauvelin, 1970.
Kazimir Malevich.
1878-1935: Exhibition catalog of 1988-1989 in Leningrad, Moscow, Amsterdam / Preface.
Yuri Korolev and Evgenia Petrova; introduction by V. A. L. Beeren.
- Amsterdam: Stedelijk Museum Amsterdam, 1988 — - 280 p.
— ISBN 90-5006-021-8.
In the Malevich circle: Comrades in arms, students, followers in Russia in the 1920s 1950s / Comp.
Irina Karasik; comp., preparation of texts of the catalog and documents, letters and comments on them Elena Basner, Irina Karasik, Tatyana Goryacheva, Antonina Marochkina, Tatyana Mikhienko, Alexandra Shatskikh.
- [B. M.]: Palace Editions, 2000.
- 360 p.
— ISBN 5-93332-039-0.
Kazimir Malevich in the Russian Museum.
- St. Petersburg: Palace Editions, 2000.
- 450 p.
— ISBN 5-93332-009-9.
Simmen J., Kohlhoff K. Malewitsch.
— 2011.
— 96 p.
— ISBN 3-8290-2684-6.
Nakov Andrei.
Kazimir Malewicz 1878—1935.
Catalogue Raisonné.
— Paris: Adam Biro, 2002.
Souter Gerry.
Malevich.
— Parkstone Press, e Parkstone International, 2008.
— 256 p.
— ISBN 978-1-85995-684-7.
Andreeva E. Kazimir Malevich.
A black square.
- St. Petersburg: Arka, 2010.
- 28 p.
— (One Thousand and One masterpieces).
— ISBN 978-5-91208-068-5.
Ivantsova O. Kazimir Malevich.
- St. Petersburg: Amphora, 2011.
- 48 p — - (Favorite artists).
— ISBN 978-5-367-01749-6.
Maykapar Alexander.
Malevich.
- M.: Direct Media, Komsomolskaya Pravda, 2011.
- 48 p.
— (Great artists).
— 46,500 copies.
— ISBN 978-5-7475-0120-1.
Kazimir Malevich.
Before and after the square.
Selected works from the collection of the Russian Museum / Ed. Yevgenia Petrova.
- State Russian Museum, Palace Editions, 2013.
- 168 p — - 2000 copies.
— ISBN 978-5-93332-465-2.
Memoirs, correspondence, criticism[edit / edit wiki text]
Malevich about himself .
Современники о Малевиче: В 2 х т. / Сост., вступ.
ст.
И. А. Вакар, Т. Н. Михиенко.
— М.: RA, 2004.
— ISBN 5-269-01028-3.
Малевич та Україна / Укладач антології Д. О. Горбачов.
— Київ, 2006.
— 456 с. — ISBN 966-96670-0-3.
Монографии, сборники статей[править | править вики текст]
Douglas Charlotte.
Swans of Other Worlds: Kazimir Malevich and the Origins of Abstraction in Russia.
— Ann Arbor: University of Michigan Press, 1980.
— 147 p.
— ISBN 978-0835710589.
Zhadova L. Malevich.
Suprematism and Revolution in Russian Art 1910—1930.
— London: Thames and Hudson, 1982.
Marcadé Jean Claude.
Malévitch.
— Paris: Nouvelles Editions francaises, 1990.
— 279 p.
— ISBN 2707900257, 978-2707900258.
Малевич.
Художник и теоретик.
— М.: Советский художник, 1990.
— 240 с. — 20 000 экз.
— ISBN 5-269-00704-5.
Сарабьянов Д., Шатских А. Казимир Малевич: Живопись.
Теория.
— М.: Искусство, 1993.
— 414 с.
Douglas Charlotte.
Kazimir Malevich.
— L.: Thames and Hudson Ltd., 1994.
— 128 p.
— ISBN 0-500-08060-7.
Шатских А. С. Витебск.
Жизнь искусства.
1917—1922.
— М.: Языки русской культуры, 2001.
— 256 с. — 2000 экз.
— ISBN 5-7859-0117 X. Левкова Ламм Инесса.
Лицо квадрата.
Мистерии Казимира Малевича.
— М.: Пинакотека, 2004.
— 208 с. — ISBN 588451-069-4.
Nakov Andrei.
Kazimir Malewicz.
Le peintre absolu.
— Paris: Thalia Édition, 2007.
Rethinking Malevich: Proceedings of a Conference in Celebration of the 125th Anniversary of Kazimir Malevich's Birth / Charlotte Douglas (Editor), Christina Lodder (Editor), Pamela Kachurin (Contributor).
— Pindar Press, 2007.
— 403 p.
— ISBN 978-1904597483.
Шатских А. С. Казимир Малевич и общество Супремус.
— М.: Три квадрата, 2009.
— 464 с. — 700 экз.
— ISBN 978-5-94607-120-8.
Хан Магомедов С. О. Казимир Малевич.
— М.: Фонд «Русский авангард», 2009.
— 272 с. — (Кумиры авангарда).
— 150 экз.
— ISBN 978-5-91566-044-0.
Маркаде Ж.-К.
Малевич.
— Київ: Родовід, 2013.
— 304 с.
Биографии[править | править вики текст]
Шатских А. С. Казимир Малевич.
— М.: Слово, 1996.
— 96 с.
Анисимов Григорий.
Кумир поверженный — всё Бог.
Повесть о художнике Казимире Малевиче.
— М.: Лира, 2001.
— 280 с. — 1500 экз.
— ISBN 5-85164-060 Х. Нере Жиль.
Малевич.
— М.: TASCHEN, Арт Родник, 2003.
— 96 с.
— ISBN 5-9561-0015 X. Букша К. С. Малевич.
— М.: Молодая гвардия, 2013.
— 336 с.
— (Жизнь замечательных людей. Малая серия).
— 4000 экз.
— ISBN 978-5-235-03656-7.
Статьи[править | править вики текст]
Азизян И. А. К. Малевич и И. Клюн: от футуризма к супрематизму и беспредметному творчеству // «0.10».
Научно аналитический информационный бюллетень Фонда К. С. Малевича.
— 2001.
— № 2.
Азизян И. А. Тема единства в супрематической теории Малевича // Архитектура в истории русской культуры / Под ред. И. А. Бондаренко.
— М.: УРСС, 2002.
— Вып.
3: Желаемое и действительное.
— ISBN 5-8360-0043-3.
Баснер Елена.
Живопись Малевича из собрания Русского музея (Проблемы творческой эволюции художника) // Казимир Малевич в Русском музее.
— СПб.: Palace Editions, 2000.
— С. 15–27.
— ISSN 5-93332-009-9.
Вакар И. Выставка К. С. Малевича 1929 года в Третьяковской галерее // Русский авангард: проблемы репрезентации и интерпретации: Альманах.
— [СПб.]
: Palace Editions, 2002.
— Вып.
5. — С. 121—137.
Горячева Т. В. Малевич и Мондриан // Искусство.
— 1992.
— № 1.
Горячева Т. В. Малевич и метафизическая живопись // Вопросы искусствознания.
— 1993.
— № 1.
— С. 49—59.
Горячева Т. В. Малевич и Ренессанс // Вопросы искусствознания.
— 1993.
— № 2—3.
— С. 107—118.
Единоликий образ совершенства.
Малевич о совершенном человеке.
К. Малевич «О „Я“ и коллективе» (публикация, комментарии, вступ. статья Т. Горячевой) // Совершенный человек.
Теология и философия образа.
— М., 1997.
Горячева Т. В. Круг Малевича.
Учитель и ученики // Творчество.
— 2001.
— № 2.
Горячева Т. В. Картина Малевича «Автомобиль и дама.
Красочные массы в 4 м измерении».
Рождение знака // Русский авангард.
Проблемы репрезентации и интерпретации: Сборник по материалам конференции.
— СПб.: Palace Editions, 2001.
Горячева Т. В. Казимир Малевич: «…
Мы должны идти в неизведанные пути для того, чтобы в них открыть мир …»
// «Нас будет трое…»
Казимир Малевич.
Илья Чашник.
Николай Суетин.
Живопись и графика из собрания Sepherot Foundation (Лихтенштейн).
— М., 2012.
Гурьянова Нина.
«Декларация прав художника» Малевича в контексте московского анархизма 1917—1918 годов // Искусство супрематизма / Ред.
-сост.
Корнелия Ичин.
— Белград: Издательство филологического факультета в Белграде, 2012.
— С. 28—43.
Дуглас Шарлотта.
К вопросу о философских истоках беспредметного искусства // Малевич.
Художник и теоретик.
— М.: Советский художник, 1990.
— С. 56–60.
— ISBN 5-269-00704-5.
Жадова Л. А. Малевич — цветопись, объемостроение // Художественные проблемы предметно пространственной среды.
— М., 1978.
Ичин Корнелия.
Супрематические размышления Малевича о предметном мире // Вопросы философии.
— 2011.
— № 10.
Карасик И. Н. Круг Малевича и проблема экспрессионизма // Русский авангард 1910—1920 х годов и проблема экспрессионизма / Отв.
ред. Г. Ф. Коваленко; Государственный институт искусствознания Министерства культуры РФ.
— М.: Наука, 2003.
— С. 195–205.
— ISBN 5-02-006374-6.
Кацис Л. «Черный квадрат» Казимира Малевича и «Сказ про два квадрата» Эль Лисицкого в иудейской перспективе // Кацис Л. Русская эсхатология и русская литература.
— М.: ОГИ, 2000.
— С. 132—139.
Коккинаки И. Супрематическая архитектура Малевича и её связи с реальным архитектурным процессом // Вопросы искусствознания.
— 1993.
— № 2—3.
— С. 119—130.
Королёв Юрий, Петрова Евгения.
Предисловие // Казимир Малевич.
1878—1935: Каталог выставок 1988—1989 гг. в Ленинграде, Москве, Амстердаме.
— Амстердам: Stedelijk Museum Amsterdam, 1988.
— ISBN 90-5006-021-8.
Курбановский А. Малевич и Гуссерль: Пунктир супрематической феноменологии // Историко философский ежегодник — 2006 / Институт философии РАН.
— М.: Наука, 2006.
— С. 329—336.
Маркадэ Жан Клод.
Значение К. С. Малевича в современной живописи // Малевич.
Классический авангард.
Витебск.
— Витебск, 2000.
— Вып.
4. — С. 55—62.
Маркадэ Жан Клод.
Малевич и православная иконография // Малевич.
Классический авангард.
Витебск.
— Витебск, 2000.
— Вып.
4. — С. 97—104.
Маркадэ Жан Клод.
Малевич — символист // Русский авангард: личность и школа.
— СПб., 2003.
— С. 6—10.
Маркадэ Жан Клод.
Гончарова, Ларионов и Малевич // Н. С. Гончарова и М. Ф. Ларионов: Исследования и публикации / Государственный институт искусствознания Министерства культуры РФ.
— М.: Наука, 2003.
— С. 199–207.
— ISSN 5-02-032673-9.
Раппапорт А. Утопия и авангард: портрет у Малевича и Филонова // Вопросы философии.
— 1991.
— № 11.
Робинсон Эдвард.
Апофатическое искусство Казимира Малевича // Человек.
— 1991.
— № 5.
Сарабьянов Дмитрий.
Малевич между французским кубизмом и итальянским футуризмом // Малевич.
Классический авангард.
Витебск.
— Витебск, 1998.
— Вып.
2. — С. 9–20.
Сарабьянов Дмитрий, Сарабьянов Андрей.
Неизвестное произведение Казимира Малевича // Антиквариат.
Предметы искусства и коллекционирования.
— 2003.
— № 7—8 (9).
— С. 58—67.
Халтурин Ю. А.
О технике живописи К. С. Малевича: от примитивизма к супрематизму // Русский авангард 1910—1920 х годов и проблема экспрессионизма / Отв.
ред. Г. Ф. Коваленко; Государственный институт искусствознания Министерства культуры РФ.
— М.: Наука, 2003.
— С. 369—386.
— ISBN 5-02-006374-6.
Хрусталёва Марина.
Как мы спасали могилу Малевича // Йополис.
— 5 сентября 2013 года.
Шатских А. С. Малевич в Витебске // Искусство.
— 1988.
— № 11.
— С. 38—43.
Шихирева О. Н.
К вопросу о позднем творчестве К. С. Малевича // Альманах «Аполлон».
Бюллетень № 1.
Из истории русского авангарда века.
— СПб., 1997.
— С. 67—74.
Шихирева Ольга.
Логика иррационального (К вопросу о позднем творчестве К. С. Малевича) // Малевич.
Классический авангард.
Витебск.
— Витебск, 2000.
— Вып.
4. — С. 86—96.
Фильмография[править | править вики текст]
Государственным Русским музеем и студией «Квадрат фильм» снят фильм «Казимир Малевич.
Преображение».
Фильм Дмитрия Горбачева «Казимир великий или Малевич крестьянский».
Национальная кинематека Украины.
Киевнаучфильм.
1994 Витебский Центр Современного искусства на основе работ художников УНОВИС и сочинений К.Малевича снял фильм «Казимир Малевич.
Будет Яснее Солнца».
Примечания[править | править вики текст]
http://www.svaboda.org/PrintView.aspx?Id=788656
↑ 1 2 Record #118640836 // Gemeinsame Normdatei — 2012—2016.
<a href="https://wikidata.org/wiki/Track:Q27302"></a><a href="https://wikidata.org/wiki/Track:Q304037"></a><a href="https://wikidata.org/wiki/Track:Q256507"></a><a href="https://wikidata.org/wiki/Track:Q170109"></a><a href="https://wikidata.org/wiki/Track:Q36578"></a>
↑ Bibliothèque nationale de France: open data platform — 2011.
<a href="https://wikidata.org/wiki/Track:Q20666306"></a>
↑ 1 2 Д. Горбачев.
Малевич и Украина.
— Киев, 2006.
— 456 с. ISBN 966-96670-0-3 ↑ 1 2 Родословие и предки К. С. Малевича // Малевич о себе.
Современники о Малевиче.
Авторы составители И. А. Вакар, Т. Н. Михиенко.
Т.
1. Москва, 2004.
С. 372—385.
↑ Шатских А. С. Казимир Малевич.
— М.: «Слово», 1996.
— 96 с. ↑ 1 2 3 Историк: «В некоторых анкетах 1920 х годов в графе „национальность“ Казимир Малевич писал: украинец» 09.04.2009.
Артур Рудзицкий ↑ А. С. Шатских.
Детство, отрочество и юность//А. С. Шатских.
Казимир Малевич.
— М.: Слово, 1996.
↑ 1 2 3 4 5 Myroslav Shkandrij.
Reinterpreting Malevich: Biography, Autobiography, Ar t // Canadian American Slavic Studies.
— Vol. 36. — No. 4 (Winter 2002).
— PP.
405-420.
↑ "Vertebrae of the past days: works of the 40s 50s, diaries and letters" Eugene Schwartz ↑ Paintings and life: notes of a collector.
Boris Gribanov ↑ "The face of the square: the mysteries of Kazimir Malevich" by Innes Levkov Lamm ↑ Alexander's Church — The Church of St. Alexander ↑ [Mastatskae zhytce Belarus pachatku 20 stagodzja: poshuk natsyanalnai samasvyadomasci] — [svaboda.org -Naviny Belarussi — Belarus News © 2013] - Radio Svaboda.
Naviny...
↑ Church of the Assumption of the Virgin ↑ Roman Catholic Church in Kursk ↑ Natalia Spiridonova Malevich lived here / / Kursk newspaper City News, No. 45 (2749), April 14, 2009 ↑ About the "House of Malevich".
Yuri Ozerov.
↑ A memorial plaque will be installed on the house of Kazimir Malevich in Kursk См Kazimir Malevich См See: Dmitry Likhachev.
Sisters Natalia Andreyevna Malevich and Angelika Andreyevna Vorobyova.
// Malevich about himself.
Contemporaries about Malevich: 2 x t — Moscow: RA, 2004.
Vol. 1. P.286.
^ The address of K. S. Malevich, during operation of Ginhuke also indicates Leningrad, PL.
Vorovskogo, d.
9, kV.
5. In a letter to A. von Retenu September 6, 1927, K. S. Malevich specifies the address as follows: street Union ties, D. 2/9, 5 sq.
Cm.
Malevich about yourself.
Contemporaries about Malevich: In 2 volumes -M.: RA, 2004.
Vol. 1. p. 195.
The apartment was located on the second floor, it was entered by a narrow (black) staircase from the gateway from the street of the Union of Communications.
In the same apartment after the death of K. Malevich in 1935 he left to live with his family (wife and daughter).
See: ibid., p.286.
↑ "The website of the State Hermitage Museum, 2009" "In 1929 Lunacharsky was appointed Malevich's "the people's Commissar of people's Commissariat OUT", but in 1930 his next exhibition in Kiev was prohibited."
↑ "Cyclops" Kishkin a security officer from the nobility ↑ 1 2 Alexander Matveev Found the grave of Kazimir Malevich / / Website Artaktivist.org.
Russian Grave was rolled up in asphalt / / Rossiyskaya Gazeta — Stolichny issue No. 6165 (189) ↑ Luxury housing was built on the grave of Kazimir Malevich // BBC Russian Service, August 27, 2013.соиск Projects of applicants // New Frontiers ..09.09 Вал Вал элит элит элит элит элит элит элит элит элит ..09 Каз Каз Каз элит элит элит элит элит элит элит элит элит.
Новые Каз Каз Каз Каз элит элит элит элит элит элит элит элит.
Новые Каз Каз Каз Каз элит элит элит элит элит элит Каз Каз.
Новые Новые Каз Каз элит элит элит элит элит элит элит элит элит.
Новые Новые Каз элит элит элит элит элит элит элит элит элит элит.
Новые Новые Каз элит элит элит элит элит элит элит элит элит элит.
- Odintsovo, 2014.
- No. 21. - p. 14 .
Андрей Andrey Baburov Malevich's grave was found.
Why?
/ / The Internet edition "Private Correspondent", September 15, 2010 by Alexander Shatskikh.
Kazimir Malevich and the Supremus society.
- Moscow: Three Squares, 2009 — - 464 p — - 700 copies.
— ISBN 978-5-94607-120-8.
Бал Balakhovskaya Faina.
In London, they trusted the genius of Malevich // The Art Newspaper Russia.
— August 28, 2014.
- No. 26, September.
Links[edit / edit wiki text]
Kazimir Malevich in Wikicitatnik?
Malevich, Kazimir Severinovich on Wikimedia Commons?
All paintings by K. Malevich Website about the life and work of Kazimir Malevich Malevich on the website museum online Malevich (little known paintings and photos) on Malevich Gallerie Malevich on kazimirmalevich.ru Kasimir Malevich.
Black Square on russianpaintings.net Malevich on if art.com Malevich in the Internet library "Prospector" Malevich Kazimir Severinovich.
Paintings and biography of Malevich and the heirs
See also[edit / edit wiki text]
Fine art of Leningrad
Some works by Kazimir Malevich
Moonlight Night (ca. 1894 • * Grinder (1912) • Head of a Peasant girl (1913) • Red square (1915) • Four Squares (1915) • Black Square (1915) • Black Cross (1915) • Suprematist composition (1916) • White on white (1918) • White Cross (1920-1927) • Black Circle (1923) • On the harvest (Marfa and Vanka) (1928-1929) • The Red Cavalry rides (1928-1932)
Supremus Founder Kazimir Malevich Participants Alexander Arkhipenko * Natalia Davydova • Iv
