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Article

Mikhail F. Kiselyov

(Vasil’yevich)

(b Valayka Station, Novgorod Province [now Lykoshino, Tver’ region], 1878; d en route from Germany to Paris, Feb 22, 1936).

Russian graphic artist, ceramicist, painter and designer. In 1896 he studied at the School of Drawing at the Society for the Encouragement of the Arts and in 1897 at Maria Tenisheva’s art school in St Petersburg, where he worked under Il’ya Repin until 1900. In 1904 he worked in the pottery studio at the Abramtsevo colony. At this period he employed Art Nouveau elements in his work, as in the majolica decorations for the Hotel Metropole, St Petersburg (early 1900s) and the majolica panel St George Triumphant for the Municipal Primary School on Bol’shaya Tsaritsynskaya [now Bol’shaya Pirogovskaya] Street in Moscow (1909). He took up book illustration in 1904 and his graphic talent flourished in the 1910s. His work for Apollon was particularly successful, his illustrations first appearing in its pages in 1911. Chekhonin soon became an original and skilful artist, using a sharp and elastic line interspersed with dots. From ...

Article

Laima Laučkaitė

(b Sejny (now Poland), Nov 14, 1890; d Vilnius, June 13, 1961).

Lithuanian painter, art theoretician, and teacher. He studied at the Vilnius School of Drawing (1910–2), Moscow Drawing School of Konstantin Yuon (1912–6, simultaneously studied law at Moscow University), and Moscow School of Painting, Sculpture and Architecture (1917–8). During the World War I he was drafted into the army. In 1918–19 he worked in the Art Department of People’s Education in the Voronezh district, and in 1920 he was an artist and advisor on art at the Fifth Red Army headquarters in Irkutsk. In 1920–21 he studied in Vkhutemas (Higher Art and Technical Studios) in Moscow under Pavel Kuznetsov, where he joined the Russian avant-garde movement, working in Constructivism, Cubism, and Suprematism. In 1921–32 he lived in Vilnius (then belonging to Poland) and taught drawing in Lithuanian schools and his own studio (1921–8). He organized the Exhibition of New Art in Vilnius in 1923...

Article

Adam M. Thomas

(b Minden, Jan 15, 1902; d Austin, TX, Dec 8, 1985).

American painter of German birth. Kelpe moved to Hannover to study art and architecture in 1919. In the early 1920s he was exposed to the leading abstract trends in European modernism, including Suprematism and Constructivism. Kelpe developed an abstract painting vocabulary characterized by geometric order, hard edges, overlapping planes, and interpenetrating shapes before immigrating to the United States in 1925. He eventually settled in Chicago, where he had his first solo exhibition in 1932 at the Little Gallery. In the late 1920s Kelpe applied found objects to his paintings, as exemplified by Construction with Lock and Key (1927; Washington, DC, Hirshhorn). He abandoned such constructions by the early 1930s in favor of integrating in paint recognizable gears, wheels and machine parts into his abstract compositions. Machine Elements (1934; Newark, NJ, Mus.), with its stacked semi-abstract machine and factory forms, is representative of his work during the period. Kelpe worked for the Public Works of Art Project in ...

Article

Christina Lodder

(Vasil’yevich)

(b Bol’shiye Gorky, province of Vladimir, 1873; d Moscow, 1943).

Russian painter and sculptor. He studied in Kiev and Warsaw in the 1890s and then in Moscow, and initially painted in a Symbolist style (e.g. Portrait of the Artist’s Wife (Consumption), 1910; Athens, George Costakis priv. col., see Rudenstine, p. 141). In 1907 he met Malevich and later joined the Union of Youth group, contributing to their final exhibition in St Petersburg during the winter of 1913–14. At this time Klyun began producing sculptures and reliefs using stylistic devices from Cubism and Futurism. The most dynamic and abstract of these is Rapidly Passing Landscape (1915; Moscow, Tret’yakov Gal.), constructed from painted wood, wire, metal and porcelain. Klyun was in close contact with Malevich from 1913 and signed Malevich’s Suprematist manifesto of December 1915. Klyun later produced Suprematist works, including a series of small paintings (untitled) depicting single geometric forms in various colours on white grounds (c. 1917; Athens, George Costakis priv. col., see Rudenstine, p. 147). In ...

Article

Troels Andersen

(Severinovich)

(b Kiev, Feb 26, 1878; d Leningrad [now St Petersburg], May 15, 1935).

Russian painter, printmaker, decorative artist and writer of Ukranian birth. One of the pioneers of abstract art, Malevich was a central figure in a succession of avant-garde movements during the period of the Russian revolutions of 1905 and 1917 and immediately after. The style of severe geometric abstraction with which he is most closely associated, Suprematism (see fig.), was a leading force in the development of Constructivism, the repercussions of which continued to be felt throughout the 20th century. His work was suppressed in Soviet Russia in the 1930s and remained little known during the following two decades. The reassessment of his reputation in the West from the mid-1950s was matched by the renewed influence of his work on the paintings of Ad Reinhardt and on developments such as Zero, Hard-edge painting and Minimalism.

Article

Russian, 20th century, male.

Born 23 February 1878, in the Kiev region; died 15 May 1935, in Leningrad (now St Petersburg).

Painter (including gouache), draughtsman, printmaker, decorative artist, writer. Stage sets.

Symbolism, Cubo-Futurism, Constructivism, Suprematism, Non-Objectivity, Abstract Art.

Oslinyy Khvost (Donkey’s Tail), Bubnovy Valet (Jack of Diamonds), Soyuz Molodezhi (Union of Youth), INKhUK (Institute of Artistic Culture)...

Article

John Milner

[Rus.: Suprematizm]

Term coined in 1915 by Kazimir Malevich for a new system of art, explained in his booklet Ot kubizma i futurizma k suprematizmu: Novyy zhivopisnyy realizm (‘From Cubism and Futurism to Suprematism: the new realism in painting’). The term itself implied the supremacy of this new art in relation to the past. Malevich saw it as purely aesthetic and concerned only with form, free from any political or social meaning. He stressed the purity of shape, particularly of the square, and he regarded Suprematism as primarily an exploration of visual language comparable to contemporary developments in writing. Suprematist paintings were first displayed at the exhibition Poslednyaya futuristicheskaya vystavka kartin: 0.10 (‘The last Futurist exhibition of paintings: 0.10’) held in Petrograd (now St Petersburg) in December 1915; they comprised geometric forms which appeared to float against a white background. While Suprematism began before the Revolution of 1917, its influence, and the influence of Malevich’s radical approach to art, was pervasive in the early Soviet period; ...

Article

Russian, 19th – 20th century, female.

Born 1866, in Orel; died 1961, in Moscow.

Painter (including gouache), collage artist.

Suprematism.

Bubnovy Valet (Jack of Diamonds) group.

From 1905 to 1909 Nadezhda Udaltsova attended the school of painting, sculpture and architecture in Moscow. In 1913, with Lyubov Popova, she visited Paris and worked at La Palette with Metzinger, Le Fauconnier and Segonzac. On her return to Moscow in ...