1878-1935 Kasimir Malevich Gallery 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 (1904?C1910). 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. 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 Cezanne 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 Independants in Paris together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster and Vadim Meller, among others. It remains one of the great mysteries of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous. Be that as it may, in 1915 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 and A. Ekster, among others. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918). In 1918 Malevich decorated a play Mystery Bouffe by Vladimir Mayakovskiy produced by Vsevolod Meyerhold. Malevich also acknowledged that his fascination with aerial photography and aviation led him to abstractions inspired by or derived from aerial landscapes. Harvard doctoral candidate Julia Bekman Chadaga writes: ??In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception .... In a series of diagrams illustrating the ??environments' that influence various painterly styles, the Suprematist is associated with a series of aerial views rendering the familiar landscape into an abstraction..." (excerpted from Ms. Bekman Chadaga's paper delivered at Columbia University's 2000 symposium, "Art, Technology, and Modernity in Russia and Eastern Europe").  Related Paintings of Kasimir Malevich :. | one of the Artist-kindred Portrait | Harvestman | The Portrait of Character | Conciliarism Painting | Two Peasants |
Related Artists:
Antoine Le Nain
French Baroque Era Painter, ca.1600-1648,The three were born in Laon (Mathieu in 1607; Antoine and Louis were originally believed to have been born in 1588 and 1593, respectively, but those dates have since been disputed: they may have instead been born just before and just after 1600), and by 1630, all three lived in Paris. Because of the remarkable similarity of their styles of painting and the difficulty of distinguishing works by each brother (they signed their paintings only with their surname, and many may have been collaborations), they are commonly referred to as a single entity, Le Nain. Louis is usually credited with the best-known of their paintings, a series of scenes depicting peasant life. These genre paintings are often noted for being remarkably literal, yet sympathetic; the subjects are never grotesque or seem ridiculed. There remains some question, however, as to whether some of the assumed "peasants" were truly from the rural class--many seem to be simply the bourgeois at leisure in the country. The brothers also produced miniatures (mainly attributed to Antoine) and portraits (attributed to Mathieu). Mathieu became the official painter of Paris in 1633, and was made a chevalier. Antoine and Louis died in 1648. Mathieu lived until 1677. The Le Nain paintings had a revival in the 1840s and, thanks to the exertions of Champfleury, made their appearance on the walls of the Louvre in 1848.
Josse Lieferinxe
active in Provence 1493-1505/08 was a South Netherlandish painter, formerly known by the pseudonym the Master of St. Sebastian. Originating in the diocese of Cambrai in Hainaut, then part of the territories ruled by the Dukes of Burgundy. Josse Lieferinxe was documented as a "Picard" in the regions of Avignon and Marseille at the end of the fifteenth and in the early sixteenth centuries. He was first mentioned in Provence in 1493. Thus he figures among the painters of the Provençal school, whose most prominent members in an earlier generation had also been from the far north of the French-speaking world Barth lemy d'Eyck and Enguerrand Quarton. In 1503 he married Michelle, a daughter of Jean Changenet, the most prominent painter of Avignon, in whose atelier Lieferinxe may have matured his style. He was last mentioned living in 1505, and in 1508 as deceased. Before he was identified by Charles Sterling who linked his work with a document, his artistic personality was recognized, as the "Master of St. Sebastian", through a former retable of eight scenes depicting the acts and miracles of Saint Sebastian and Saint Roch, protectors against the plague, which was commissioned in 1497 for the church of Nôtre Dame des Accoul's in Marseille. Bernardino Sismondi, who originally received the commission, died, however, before he could finish the work.
Johannes Gumpp
1626-after1646