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Home Paintings by famous masters Bright personalities in art Kazimir Malevich: paintings, suprematism, principles of the black square
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Kazimir Malevich: paintings, Suprematism, the principles of the black square
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Biography of Malevich
Kazimir Malevich (1878-1935) was a Russian artist.
It is worth mentioning the name of Kazimir Malevich, and everyone who is at least a little familiar with art immediately remembers his famous "Black Square", created in 1914.
This is a kind of pictorial manifesto of Suprematism - a new trend of abstract art that emerged in Russia at the beginning of the XX century thanks to Malevich.
Asymmetric, but balanced suprematic compositions permeated with internal movement were born as a result of a combination of the simplest geometric shapes, different in size and color - triangles, stripes, rectangles, circles, etc.
In Latin, supremus means "the highest".
When considering the concept of a new trend, Kazimir Malevich shared his plans only with his friend M. Matyushin.
It was with him that he decided to publish the magazine "Zero".
In the" Black Square", it would seem that all object forms are really reduced to zero, but this is not the end, but only the beginning of a new movement, the entrance to a new space.
Kazimir Malevich hatched the idea of "stepping beyond zero", into a non objective space.
The black square depicted on a white background should be perceived not as a plane, but as the entrance to the cosmos of a new spatial vision.
The background of the "Black Square", the idea of creating which, according to Kazimir Malevich, was born on an unconscious level, can be considered the artist's work on sketches of scenery for the opera Matyushin and Kruchenykh "Victory over the Sun".
As a result of the "disintegration" of the "Black Square", 48 new paintings were born, which were shown in 1915 at the exhibition "0,10".
Kazimir Malevich wrote in one of his letters that " the black square - the germ of all possibilities takes on a terrible force during its development.
He is the ancestor of the cube and the ball, his disintegrations carry an amazing culture in painting."
Perhaps it was Malevich's suprematism, like other abstract trends that emerged at the beginning of the XX century, that "cultivated" the rapid development of civilization, left for posterity a visual chronicle of that time, the time of wars, catastrophes, revolutions, when it sometimes seemed that reality itself was decomposing into separate elements.
Kazimir Severinovich Malevich was born on February 11, 1878 in Kiev.
His father worked at sugar beet factories, which were usually built in the wilderness.
Therefore, in 1890, the family moved to the village of Parkhomovka, which was located near the village of Lopolya, and then to Volchok.
In Parkhomovka, Kazimir graduated from a five grade agricultural school and enthusiastically helped peasants paint stoves, he himself drew, as he believed, no worse than artists in magazines.
When the Malevich family moved to Kursk in 1896, Kazimir, along with other amateur artists, created a circle of art lovers.
He painted landscapes and was fond of the works of the "wanderers" Shishkin and Repin, music that the composer Nikolai Roslavets helped him to understand more deeply.
In order to earn money for studying in Moscow, Kazimir Malevich served for some time as a draftsman in the technical department of the railway administration.
In 1904, he began attending the Moscow School of Painting, Sculpture and Architecture.
At first, Malevich was fascinated by the Impressionists, then by icon painting, which, according to his own admission, helped him understand "the emotional art of the peasants, which he loved before, but did not understand all the meaning that opened up after studying the icons."
For the first time his name appeared in the catalog of the XIV exhibition of the Moscow Association of Artists, which was held in 1907.
At the same time, exhibitions organized by the symbolist magazine "Golden Fleece" were held in Moscow, where one could see new French art - the works of Bonnard, Braque, Glez, Gauguin, Redon and other artists whose work could not fail to interest Malevich.
In 1905-1910, he studied in the studio of Rerberg, but he later stressed that the main thing in his formation was self education.
In 1911, three series of Malevich's works were exhibited at the First Moscow Salon: the "Yellow series" represented angels and saints, the "White" - recreation, the "Red" - baths, bathers and bathers.
In the same year, the third exhibition of the St. Petersburg group "Union of Youth" was held, where Malevich's paintings were exhibited together with the works of D. and V. Burlyukov, Larionov, paintings by Goncharova, Morgunov and Tatlin.
Goncharova and Larionov later separated from the association of artists "Jack of Diamonds" and organized the exhibition "Donkey's Tail", where you could see the works of Malevich, Stepanov, Morgunov, Shevchenko, Tatlin, Chagall.
In 1913, Malevich joined the "Union of Youth" and wrote that the only correct trend in painting is cubo futurism.
Larionov interpreted futurism as luchism.
During this period, in his works such as "A Woman with buckets", "Grinder", "Woodcutter", "Morning after a Blizzard in the Village", etc., Malevich depicted forms that seemed to be covered with metal.
In July of the same year, M. Matyushin invited the writers Kruchenykh and Khlebnikov and the artist Malevich to write an opera at the request of the St. Petersburg "Union of Youth".
A few days in July, which Matyushin, Malevich and Kruchenykh spent together on the shore of the Gulf of Finland in Uusikirkko, they decided to call the "First All Russian Congress of Futurists".
After that, they published a manifesto that as a result of joint activities they created the opera "Victory over the Sun", and stated that they now stand for the destruction of the pure Russian language, an outdated train of thought, against the frivolity of cheap writers and artists.
"Victory over the Sun" was performed on December 3 and 5 in St. Petersburg's Luna Park.
In January 1914, the leader of Italian futurism, F.-T.
Marinetti, arrived in Moscow.
And on February 8, the famous demonstration of futurists took place at Kuznetsky.
Its participants decorated the lapels of their coats with red wooden spoons.
After the state of Germany declared war on Russia on August 1, 1914, Kazimir Malevich painted several anti German posters in the style of a Russian splint.
At the first futuristic exhibition "Tram B", which was organized in Petrograd by Ivan Puni and his wife Ksenia Boguslavskaya, Kazimir Malevich exhibited his works "The Lady at the poster pole", "The Aviator", "The Lady in the tram" and "The Englishman in Moscow".
Along with his works, the works of Klyun, Morgunov, Popova, Tatlin, Exter and others were exhibited.
When the exhibition opened, its participants traditionally decorated their costumes with red wooden spoons.
And in his workshop, Kazimir Malevich secretly created the first suprematist compositions.
However, Puni, who was preparing the second futuristic exhibition at that time, went to Malevich and accidentally found out about the upcoming surprise.
9 absolutely non objective works, including the famous "Black Square", were exhibited at the last futuristic exhibition of paintings, which was called "0.10" (zero ten).
Malevich called them "the new non objective realism".
Together with Puni, Boguslavskaya, Klyun, Menkov, he wrote a declaration that was included in their joint manifesto and a brochure where Malevich explained the meaning of his works.
The declaration was the introduction to a new brochure - " From Cubism and Futurism to Suprematism.
A new pictorial realism".
In it, Kazimir Malevich wrote: "Our art world has become new, non objective, pure.
Everything has disappeared, there is still a lot of material from which a new form will be built.
In the art of suprematism, forms will live, like all living forms of nature."
In 1916, Kazimir Malevich was called up for military service in Smolensk.
In August 1917, he was elected to the Moscow Soviet of Soldiers ' Deputies as chairman of the art department, and after the October Revolution, a member of the commission for the protection of artistic values in the Kremlin.
Malevich wrote articles for the newspaper "Anarchy", then, after moving to Petrograd, he made scenery for the production of the play "Mystery Buff" by Mayakovsky.
In Moscow, where Malevich returned in 1919, he led a painting workshop in the Free Art Workshops (Svomas) and, together with Udaltsova, a textile workshop.
At one of the exhibitions, he showed his new series - "White on White".
Rodchenko immediately answered it "Black on black".
"Color should come out of the pictorial mixture into an independent unit - into a construction," Kazamir Malevich argued, " as an individual of a collective system."
In September 1919, a new stage in Malevich's life and work began.
V. Ermolaev and L. Lisitsky invited him to teach at the Vitebsk Folk Art School, which at that time was headed by M. Chagall.
Already in the spring of the following year, Malevich introduced a new form of education, where all types of art were considered on the basis of suprematism.
"Unovis", which stands for "affirmers of the new art", was a new type of training based on collective principles.
1920 was a special year for Malevich: on April 20, his daughter was born, whom he named Una, and in December the album "Suprematism.
34 drawings".
However, relations with some teachers, and with the city authorities, Malevich did not work out.
And he was forced to move to Petrograd.
Yermolaeva, Chashnik and some of his students went with him.
In 1923, together with other artists of "Unovis" and employees of the Petrograd State Porcelain Factory, Malevich began to develop sketches of new forms that were based on the principles of suprematism.
At the same time, he tried to explore the possibilities of suprematist architecture and developed drawings and sketches for the so called "planites".
At the suggestion of Pavel Filonov, Malevich was temporarily appointed director, and then head of the department of pictorial culture of the Institute of Artistic Culture.
"Black Square", "Black Circle", "Black Cross" and six drawings by Planit Malevich were exhibited with great success at the XIV Biennale in Venice.
The innovative artist was very fond of participating in disputes, the students called him not only a Teacher with a capital letter, but also a leader, compared his personality with the personality of the legendary Chapaev.
And Malevich already dreamed of transforming the entire surrounding space in the spirit of suprematism, and together with Chashnik and Suetin, he began to make models of suprematist architectural structures - "architectons".
Then he went to Warsaw and Berlin, where he and Piper visited the Bauhaus in Dessau, met Walter Gropius and Laszlo Moha Nadem, and even decided to make a film about suprematism.
Returning to Russia, Malevich again engaged in research activities, but, faced with a lack of understanding, he was forced to move to Kiev.
In 1930, Malevich was arrested.
And while he was in prison, his friends, worried about his fate, burned almost all the manuscripts.
In 1932, Kazimir Malevich was given the opportunity to lead an experimental laboratory at the State Russian Museum.
In April 1935, the First Exhibition of Leningrad artists exhibited five portraits that Malevich created in 1933 and 1934.
And then - until 1962 - Malevich's works were no longer shown in the Soviet Union.
Kazimir Malevich died on May 15, 1935.
His work has absorbed all the contradictions of time.
Malevich was fond of impressionists, created cubo futurist compositions, there were also two so called peasant periods in his work, when he tried to comprehend the images of peasants.
But his main contribution to the history of fine art of the XX century was suprematism.
The "black square" has become a kind of sign symbol.
Both Malevich and his students wore it on their sleeves, put it next to the address to the addressee on letters.
Even Malevich bequeathed to bury himself in a "suprematist" coffin, which was made according to his own project.
On the cover was intended to be a square, a circle and a cross (the cross is, however, consistent with Soviet symbols, do not have, though he Malevich was called "the intersection of two planes").
Put the dead man in suprematic basic colors - white shirt, black pants, red shoes.
N. Suetin was later put on the grave of the artist in Nemchinovka white cube with a black square on it, thus the black square, which was the output in the new space.
"I have untied the knots of wisdom and freed the consciousness of paint," Kazimir Malevich claimed.
- Take off the roughened skin of centuries rather, so that it will be easier for you to catch up with us.
I overcame the impossible and made the abysses with my breath.
You are in the nets of the horizon, like slaves!
We, the Supremacists, are throwing you the road.
Hurry up!
For tomorrow you will not recognize us."
Bogdanov P. S., Bogdanova G. B.
THE MAIN MILESTONES OF MALEVICH'S WORK
Kazimir Malevich (23.02.1878-15.05.1935) was a Russian artist, the founder of Suprematism, an art direction that uses exclusively geometric figures as visual elements.
Malevich is considered one of the pioneers of abstract art.
Kazimir Severinovich Malevich was born in Kiev, in the family of a sugar grower.
After completing a five year course of study at an agricultural school, he began to study painting, and in 1900 he left for Moscow.
1903: The Impressionist period.
At the beginning of the century, Malevich's style tended to impressionism (for example, "The Flower Girl", 1903), after the February revolution of 1905, the artist came into contact with the symbolist movement "Blue Rose".
Arguing in matters of style with the so - called primitivists, Malevich created three series of paintings, which he presented in 1911 at the First Moscow Salon: the "Yellow series" includes images of angels and saints, the "White series" - white figures on a colored background and the "Red series" consists mainly of images of bathing natures.
1911: The Cubist period.
Around 1910, the artist's favorite subject was the image of peasant labor: the figures of people working on the land are made in bright colors and simplified outlines.
Since 1911, the increasing influence of Cubism has been clearly felt in the" peasant " scenes.
Malevich created geometric and block shapes with metallic shiny surfaces.
In addition, there were paintings saturated with colors, in which he recreated figures and space through ball and diamond shaped images (for example, "The Logger", 1911/1912; "Harvest", 1912).
In such works as" Table and Room "(1913) and" An Englishman in Moscow " (1914), he focused on the French version of Cubism.
1913: Suprematism.
In 1913, Malevich was ordered costumes and scenery for the futuristic opera "Victory over the Sun".
While working on this order, the artist deliberately rejected all known art styles and created a decoration that consisted of a single black square.
He then transferred this composition to the canvas, calling the painting " A Black square on a White Background "(about 1913).
Malevich designated the style of his art by the term "suprematism", by which he meant "the staging of the experience of pure, non objective, which has no practical significance".
At first, he composed his works mainly from squares; later he began to work with lines, circles, rectangles and crosses.
Three stages can be traced in the artistic development of Suprematism.
Until 1915, the dominant elements were simple floating shapes of squares and wide colored stripes.
The second stage was the creation of tense groups of horizontal and vertical forms crossed with each other.
During the so called white or purist period (1917/18), he reduced the composition of the painting to monochrome white planes with white forms.
Thanks to his theoretical works on suprematism, Malevich, along with Vladimir Tatlin, is considered the most outstanding theorist of constructivism (the representation of figures through pure geometric forms).
1917: Suprematism as an official cultural policy.
After the October Revolution of 1917, suprematism, along with constructivism, became an integral part of the official cultural policy aimed at the scientific and artistic reorientation of the new society.
Malevich was appointed head of all Moscow museums.
He considered his painting "Suprematism" (1921-27) as a postulate of "useless pointlessness".
The artist experimented not only in painting: for some time he was engaged in interior design, as well as architecture and applied arts.
In the 20s, Stalin promoted the artistic style of socialist realism, and Malevich began to focus more clearly on subject art in his painting, creating portraits, images of people and landscapes (for example, "Village Girls", 1928-32).
In 1935, Malevich died in Leningrad at the age of 57.
Paintings by Malevich
Carpenter1.
1928 -1929
A complex premonition (Torso in a yellow shirt).
Around 1932
Spotrsmen.
1930-1931
Suprematism (Supremus No. 57).
1916
Suprematism.
1917
In the hayfield.
1929
Bathers.
Around 1930
White on white (White square).
1917
Samovar2.
1913
An improved portrait of the builder (Portrait of I. V. Klyun).
1913
Black supremacist square.
1915
The lady at the poster post.
1914
A river in the forest.
Around 1930
Red House.
1932
Life in a big hotel.
1913-1914
Two peasants on the background of fields.
Around 1930
Suprematism (Supremus No. 56).
1916
Portrait of the artist's wife.
1934
Boulevard.
Around 1930
Landscape with the White House.
1928-1929
An Englishman in Moscow.
1914
A cow and a violin.
1913
Reapers.
1928-1929
Portrait of the artist's wife.
1933
Black cross.
Around 1923
The Blacksmith.
1933
Female torso 1.
1928-1929
Portrait of M. V. Matyushin.
1913
A kettle with a lid.
1923
Suprematist painting.
1916
Rye harvesting.
Around 1912
The peasant's head2.
Early 1930s
The head of a peasant girl.
1912-1913
A girl in the village.
1928-1929
A peasant in the field.
1928-2929
A black circle.
Around 1923
Suprematism 3.
1915
Architecton Alpha.
1920
Self portrait.
1910-1911
Red square.
Picturesque realism of a peasant woman in 2 dimensions.
1915
The harvest.
1928-1929
Sketch of fresco painting.
Prayer.
1907
Aviator.
1914
Cup and saucer.
1923
Suprematist painting flying airplane.
1915
Suprematism 2.
1915
Church.
Around 1905
Bathers.
Early 1930s
The head of a peasant.
Early 1930s
Suprematism.
1915-1916
Suprematism (Supremus No. 58, yellow and black).
1916
The head of a modern girl.
1932
Portrait of a drummer (Red Banner Zharnovsky).
1932
A peasant woman with buckets and a child.
Around 1912
Black square and red square.
1915
A black square.
Around 1923
Logger.
Circa 1912-1913
A lady at a tram stop.
1913
The head of a peasant.
1928-1929
Two male figures (In white and red).
Early 1930s
The station is without a stop.
Kuntsevo.
1913
A girl without a service.
Around 1930
Suprematism.
The 18th construction.
1915
A running man.
1932-1934
The town.
1910
Suprematism (Black cross on a red oval).
1921-1927
Portrait of the mother.
Around 1932
The lady at the piano.
1913
The head of a boy in a hat.
Early 1930s
Portrait of the drummer.
1932
The peasants.
1928-1929
Portrait of N. N. Punin.
1933
Reaper1.
1928-1929
Red Cavalry.
Around 1932
Suprematism is a self portrait in two dimensions.
1915
The composition.
1930-1932
The peasant's head2.
1928-1929
Suprematism with a blue triangle and a black triangle.
1915
Self portrait.
1933
Peasant women in the church.
Circa 1911-1912
A girl with a comb in her hair.
1932-1933
A cup.
1923
A soldier of the first Division.
1914
The Argentine polka.
1911
Three female figures.
Early 1930s
Two women in the garden.
Around 1930
The reaper.
1912
Sketch of fresco painting.
The triumph of the sky.
1907
The bather.
1911
Spring landscape.
Mid 1900s
An employee.
1933
Cup and saucer Suprematism.
1923
In the bathhouse.
1910-1911
Composition with Gioconda (Partial eclipse in Moscow).
Circa 1915-1916
Suprematism.
1915
A peasant woman.
Early 1930s
Landscape with five houses.
1928-1929
The grinder.
1912-1913
Male portrait.
1933-1934
Self portrait.
1910
Girls in the field.
1928-2929
For the harvest (Marfa and Vanka).
11928-1929
Female torso 2.
1928-1929
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