Kasimir Malevitch

Kazimir Sévérinovitch Malevitch (Малевич, different КазимирСеверинович orthography: Malévitch) is one of the first abstract artists of the 20th century. Painter, Draftsman, sculptor and theorist, Malevitch was the creator of an artistic current named by him: “Suprématisme”.

Biography

Born with Kiev (Ukraine) in 1878 parents of Polish origin , it is deceased in 1935 with Leningrad.

After a technical training of draftsman with Moscow in 1902, it developed as an autodidact his plastic work which it declined during his life in ten different styles: alogic Realism, Impressionism, Symbolism, Cézannisme, Fauvisme, Néoprimitivisme, Cubofuturisme, Cubism, Suprématisme, Supranaturalisme.

In 1915, it painted celebrates it Carré black , proclamation of the abstract art, which accompanied it throughout its life.

With the Revolution of 1917, Malevitch accepted institutional functions as teacher and researcher, and fights for democratization.

In 1927, Malevitch left on a journey in Germany, it left 70 tables there and a manuscript Suprématisme or the World without object, published by the Bauhaus. During the war, about fifteen its tables disappeared and were never found, a part is with the Stedelijk Museum of Amsterdam and another with the MoMA of New York.

Prolific artist, it did not cease painting throughout his life.

In 1929, it was treated by the Soviet capacity of subjectivism and philosophical dreamer. During Years 1930, the needs for the Soviet capacity as regards art having evolved/moved, Kasimir Malevitch was unceasingly attacked by the press, lost its official functions - he even was imprisoned and tortured. Even if the authorities decreed official funeral in 1935 to him, the judgment of its work and current suprematist were accompanied by a lapse of memory of several decades.

The recognition of this artist intervened as from the Seventies. Since then, the many retrospectives throughout the world devoted Kasimir Malevitch like one of the Masters of the abstract art.

Its work

Of 1907 with 1935, took part in 35 exposures of avant-garde in Russia and abroad. Malevitch was an active member of the Russian artistic avant-garde and cotoya Kandinsky, Chagall, Matiouchine, El Lissitzky, Rodchenko.

Parallel to its plastic work, Malevitch produced theoretical texts on the Art. A score of writings appeared between 1915 and 1930, but of many manuscripts remain unpublished. All are not directly related to the only artistic practices: thus for example, the Idleness like effective truth of the man , written in 1921 and published with the editions Combined in 1995 in French language, text revolutionary insofar as Communism itself appears dépassable there.

Its Russian heart shows through in the landscapes and the scenes of the daily life with dominant of the red and green, colors of the icons. The Gouache S of years 1910-1911 are influenced by the Fauvisme but also by the Primitivisme and the Protocubisme. In the years 1912-1913, it produces fabrics cubists and futuristic.

Suprematism

See also: Suprématisme

In 1915, Malévitch painted the three elements founders of the suprematism: the Square black , the black Cross and the black Circle .

Handling simple forms in Geometrical matter and unicoloured laid out on the fabric or set up in reality (Architectone S), the suprematism shows the infinite character of space, and the relation of attraction and rejection of the forms.

For Malevitch, art is a process leading the feeling (i.e. the report/ratio of the artist in the world) to concretize itself in work thanks to a foreign formative module with the support, “the additional component”, which structure pictorial mass or materials.

According to its name, the suprematism is posed like higher model of the artistic purpose of pure art, dominating and forming in its wake the applied art.

It is on the design of the report/ratio of the pure art to the applied art that Malevitch enters in conflict with the constructivists.

Works

  • red Roof (1906), where one recognizes the influence of Monet.
  • Self-portrait (1908 - 1910)
  • Composition suprematist (1910), with the MoMA
  • the Re-entry of the harvests (1911), (Stedelijk Museum, Amsterdam).
  • Wipers of parquet floor (1911) - gouache on paper inspired of the fabric of Caillebotte
  • On the boulevard (1911) - gouache on paper
  • the Morning in the countryside after the storm (1912), (Museum Solomon R. Guggenheim, New York).
  • Harvest of rye (1912) - cubo-futuristic composition
  • the Victoire on the sun (1913), series of drawings for the spectacle éponyme.
  • the Grave-digger (1913), Watercolour where the first black square appears.
  • the Aviator
  • the Cow and the Violin
  • Composition with the Mona Lisa , attack against the celebrates table, it announces the Dadaïsme.
  • an English in Moscow (1914)
  • Square black (1915), this square surrounded by white symbolizes the world without object, form fundamental of the Suprématisme, a restoring of the representation of the world before coloured exploration of “Nothing released”.
  • Suprématisme ” (1915)
  • Self-portrait with two dimensions (1915)
  • White square on white zone republication of the fabric of 1915 (1918).
  • the Architectones (1923), are white constructions made up of elements stuck to cubic base.
  • Country with the black face (1930), in the shape of coffin.
  • Off-set (1930 - 1931), crossed into two.
  • red Cavalry (about 1932)
  • red House (1932), a prison with the blind walls to show the Russian suffering.
  • Pressentiment complexes or Buste with a yellow shirt (1932)

French bibliography

Writings of the artist

  • the Idleness like effective truth of the man , (transl. Governed Gayraud), Combined
  • Ecrits on art, volume 1: De Cézanne with the suprematism , the Old one of Man, 1993
  • Written on art, volume 2: The Mirror suprematist , the Age of Man, 1993
  • Written on art, volume 3: Arts of the representation , the Age of Man, 1993
  • Written on art, volume 4: The new Light and Color, texts of 1918 to 1928 , the Age of Man, 1993

Monographs

  • Kazimir Malévitch and Suprématisme: 1878-1935 , Gilles Néret, Taschen

  • Kasimir Sévérinovitch Malévitch: I discovered a new world , Frederic Valabrèque, Images in operation, 1999
  • Malévitch , Jeannot Simmen and Jolja Kohlhoff (transl. Catherine Makarius), Könemann, Cologne, 2000,
  • Malévitch: With the avant-gardes of the modern art , Andrei Nakov, collection Discovered Gallimard, 2003

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