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 :. | The man running | Five house Landscape | First mark | Boulevard | Landscape |
Related Artists:
MASTER of the Duke of Bedford
French Early Renaissance Miniaturist, active 1405-1435
Kuzma Sergeevich Petrov-Vodkin
(1878, Khvalynsk, now Saratov OblasteFebruary 15, 1939, Leningrad) was an important Russian and Soviet painter and writer. Kuzma Petrov-Vodkin was born in Khvalynsk (Saratov Oblast) into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from a couple of icon painters and a signmaker. Still, Petrov-Vodkin didn't quite see himself in art at that time; after graduating from middle school, he took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. In April 1895, Burov died and for some time Petrov-Vodkin took different painting jobs in the vicinity of Saratov. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. The education was financed by a charitable subscription among local merchants. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. Petrov-Vodkin stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin. In 1901 he travelled to Munich to take classes with Anton Ažbe. He graduated in 1904.
Nils Nilsson Skum
1872-1951