KAZIMIR MALEVICH

Founder of his own abstract style - Suprematism - Kazimir Malevich Severinovich born on 23 February 1878 (according to other sources - 1879), in Kiev. Parents Severin Antonovich and Ludwig A. origin were Polish. Later, the artist recalled: "The circumstances in which my life has flowed childhood, were as follows: My father worked at the beet sugar factories, which are used to build the deep wilderness, away from towns and cities. "

Around 1890, my father transferred to the plant, which was located in the village Parhomivka about Belopolye. Here the Casimir ends five-class agricultural school: "The village . . . the arts (a word I do not know at the time) . . . I watched with great excitement, as do farmers painting, and helped them to smear mud floor hut and make designs on the stove . . . The whole life of the peasants I was fascinated by much . . . That is against this background that in me to develop a sense of art, to art. " Four years later the family moved to a factory in Volchkov, and then moved to Konotop.

As Malevich wrote in his autobiography: "Tubes, palette, brushes, umbrellas, folding chair from the Bilopillia not let me rest. I was 16 years old, I drew what I thought, everything, and cows and horses, and humans, how to draw artists in magazines. "

From 1895 to 1896 Kazimir briefly studying at the Kyiv Drawing School NI Murashko. Then it happened important event - the Malevich family moved to Kursk, where the father goes to work in the railway: "City of Kursk in the future of my biography will take a big place. My work is in the same town was developing under the influence of the" Wanderers "Shishkin and Repin, with whom I was familiar from reproductions. Nature has become for me the reality that you want to convey the full truth in his study . . . "

Along with several officials, art lovers Kazimierz creates studio and a circle of art lovers. He wants to earn money to study in Moscow and entered the service in the technical department of the Railway Department draftsman.

In autumn 1904 Malevich had come to Moscow, where he attended an introductory session aims at the Moscow School of Painting, Sculpture and Architecture and the Stroganov Art School: "Moscow icon upset my theory, and led me to the third stage of development. Through the art of icon painting, I realized the emotional art of the peasants, that he loved before, but not grasped the meaning of which opened after learning of icons.

Photo — «Kazimir Malevich»

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Kazimierz lives and works in-house artist commune VV Kurdyumov in Lefortovo. From 1906 to 1910, Malevich was studying in a private studio, FI Rerberg. In 1907 he exhibited two studies on the 14-th exhibition "Moscow Association of Artists. " The artist takes part in the following two exhibitions, "the Association". Held at year-end 16-th exhibition shows the "Sketches of fresco painting. "

While Malevich fond of Impressionism. An example is the series of paintings by the spring garden: "Apple Trees in Blossom," "Spring", "Spring - a flower garden. " The young artist is focused on the transfer of the general state of jubilant completeness of natural life, bathed in a blinding spring sunshine.

As pointed out by IM Yegorov: "In the work of Malevich end of the first decade of coexisting different trends. This impressionism, connecting with sezannizmom (" The River in the Forest "), and Art Nouveau, which appeared in sketches fresco (" Triumph of the sky "), all aggravated and expressionistic elements fovistskie . These spressovannost, layered on each other's different styles and manners typical of both the newest of Russian art and creativity of Malevich.

In "Self-Portrait" (1908 or 1910-1911) found in common with Matisse, but it is clear and proper manner, characterized not so much the purity of style of expression as extreme determination, and the pressure corresponding to the character of the master. "

In 1909 Malevich met with Sophia Mikhailovna Rafalovich and enters the second time in a marriage. In December the following year he participated in the first of a series of exhibitions in Moscow, "Jack of Diamonds", organized by Larionov and Goncharova. Exhibits the work of "Bathers" and two paintings with the images on these fruits. The artist has participated in other exhibitions, initiated by Larionov: "Jack of Diamonds" (1910-11), "Donkey's Tail" (1912) and "Target" (1913).

Malevich began painting teens ("Bather," "On the Boulevard," "Gardener", everything - 1911) indicate that the development of Gauguin and the Fauves heritage. On the transition from expressionism to cubism are such works as "Peasant women in the church" (1912), "Peasant Woman with buckets and a child" (1912). Painting them more weights tends to geometric, not baring all bulk structures, it preserves the decorative flatness.

Since 1912, begins with the creative community of Malevich poet zaumnikom AE Lisle and Velimir Khlebnikov, the artist participated in a number of publications Russian Futurists.

Photo — «Kazimir Malevich»

As noted by A. Shatskih: "His paintings of these years showed the domestic version of futurism, named" kubofuturizm: Cubist change in shape, designed to adopt the self-worth and autonomy of art, mingled with the principle of dynamism, cultivated Futurism ["Grinder (Principle flicker), 1912, etc. ].

Work on the decorations and costumes for the production of the end of 1913's futuristic opera "Victory over the Sun" was later comprehended as becoming Malevich Suprematism. In painting, this time the artist was developing themes and subjects "abstruse realism," which used the illogic, irrationality as an instrument of destruction ossified traditional art; alogical painting, expressing the abstruse, transratsionalnuyu reality that has been built on shocking assembly of diverse plastic and figurative elements, emerging in the track filled with a certain sense, puts to shame the everyday mind its incomprehensibility ("Lady at the tram stop," 1913; "The Aviator," "Composition with Mona Lisa," both 1914; "An Englishman in Moscow", 1914, etc. ).

On the second "Last Futurist Exhibition of paintings" in 1915, called ". 10 (zero-ten)" held in St. Petersburg, Malevich show 39 new paintings. These were figurative works presented under the title "New pictorial realism. " Among the pictures was the famous "Black Square".

In his 1915 essay "From Cubism to Suprematism" Malevich clearly expressed that the movement and color sensations occupy a dominant position in relation to the form: "I think you need to pass a purely colorful motion so that the picture could not lose a single of his paint. The movement, running horse, a locomotive, you can send monochrome pencil drawings, but to convey the motion of red, green, blue mass - you can not. Therefore, we must apply directly to the masses of the picturesque, as such, and look at them the forms, they are inherent. "

In the end, in Suprematism were only dynamic color sensations transmitted through the color rectangles. They may relate to earthly objects to the same extent that they can represent the energy brought by the cosmos, but at the same time, they are an achievement of the artist in his quest to portray his feelings as such.

"Black Square" by Malevich conceived, embodies the idea of ??a new spirituality, a kind of icon, a plastic symbol of a new religion. D. Sarabyanov remarks that "it was a risky move to that position, which puts the human face of Nothing and Everything".

Photo — «Kazimir Malevich»

With the harsh criticism made by Malevich A. Benoit: "Black square in white frame. This is not just a joke, not an easy call, not an event or a small epizodik that occurred in a house on the Campus Martius, and this is one of the acts of self-affirmation of the principle which has its the name of the abomination of desolation, and which boasts that it is through pride, through arrogance, a violation of love and a gentle lead all to death. "

The artist said Benoit letter: "I am happy that my face is not square may merge with any master, nor time. Do not you think? I did not listen to fathers, and I do not like them. And I - level. The art has a duty to perform its essential forms, in addition, I love them or not. I like or dislike - the art of it you do not ask, but asked when he created the stars in the sky. " Thus, Malevich drew an analogy between the creative and space processes, likening the creation of the universe picture.

In June 1916, Malevich was called up for military service. Serves in Smolensk. After the February Revolution joins the primaries artists. In August, elected to the Moscow Soviet of Soldiers' Deputies (the chairman of the art department).

In the early days of the October Revolution, the artist was elected a member of the Commission for the Protection of artistic values ??the Kremlin. In March and April 1917 he wrote a series of articles for the newspaper "Anarchy", which is opposed to the conservative forces seeking to maintain its supremacy in the art world.

"In the period from 1913 to 1918 the artist creates paintings suprematic - floating in white space bezvesii planar geometric combination of the following" Black Square "of the letter of the new language, folding in the words and combinations - writes IM Yegorov. - As a rule, this is the simplest geometric pervoformy - circle, cross, rectangle, line. Sometimes Suprematist paintings traditionally accompanied by an unexpected and rather arbitrary name, such as: "pictorial realism footballer," "Colorful mass in the 4 th dimension", "Self-Portrait in a 2 - three dimensions. "Subsequently, Malevich Suprematism denote them simply as numbers, sometimes as a dynamic Suprematism. Forms are filled with a pure sense of space - planets, geometric satellites silently speeding in a white space of the cosmos, subject to the laws of cosmic gravity, form a gravitating to each other or vzaimoottalkivayuschiesya combination.

Photo — «Kazimir Malevich»

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In June 1919 Malevich completed its first major theoretical work on the new systems in the art. " In September, went to work in Vitebsk, in the People's Art School, headed by Marc Chagall. He wants to introduce a new system of art education in which all forms of art developed on the basis of Suprematism. The following year, organized by Malevich in Vitebsk group Unovis "(" yes "new art").

"Did not I tell that a new earth skull, the brain is going a new flowering and creates new life, which we call the invention" - he wrote in his published work in Vitebsk on new systems in the art. "

"In Vitebsk period arises the idea of" surplus element "and an attempt to apply it in teaching practice - writes IM Yegorov. - The essence of the theory of" surplus element "is as follows. In each painting system can identify and highlight the main formative element of a sign or forming its constructive basis. Allocation of this element makes it possible to understand this system and learn the evolutionary path of transition from one system to another beautiful example of Cubism in Suprematism. Identification of this feature is the identification of "surplus element".

1922 together with his disciples the artist leaves the Vitebsk in Petrograd. He participates in the Berlin of the First Russian Art Exhibition. The following year, Malevich was appointed director of the Museum of Artistic Culture, later transformed into the Institute of Artistic Culture. In 1926 he removed from his post as director, and the Institute is closed. A year earlier, Malevich marries again, this time on Natalya Manchenko.

In 1927, Malevich was going to Germany, where he exhibited his work in the private dining room of the Great Berlin Art Exhibition.

After the logical conclusion Suprematist period Malevich sought to use his discoveries and achievements in the application to the subject of painting, to the more traditional art. So there is a so-called second cycle of the peasant.

"The second cycle of the peasant has nothing like it in Russian and world art, - the IM Yegorov. - It saves the common human sense at all due to the Russian spiritual and plastic culture, that is, has the significance of all great art, connecting national and universal early . His peasants are coming to the images as the face of eternity. " DV Sarabyanov talks about some pictures of the cycle:

"In" Woman with a rake "strictly geometrized landscape, almost nowhere is not excepted from the drawing began, is dotted on the horizon, silhouettes of houses - not the peasants' huts and stone buildings, painted, as well as parts of the figures in red, white, black and yellow color.

Photo — «Kazimir Malevich»

In this background - the same evidence of invasion of civilization in the rural world. However, the "Woman with a rake," not as contentious as the head of the peasant. "When the similarity of the overall color scheme there is no opposition to the naked man and the world, it is to some extent formalized, color spots are distributed fairly in equilibrium and calm. The film lacks the "harmony of despair, which pervaded the" head of the peasant. "

Like the woman with the rake, one of the largest in size canvases second peasant series - "Girls in the '(1928-1932) - also seems devoid of overvoltage conflict. Designated by Malevich as supranaturalizm "This painting outlines the actual balance between objectivity and abstract, between the signs Suprematist being implemented in the geometric forms and ritmiziruyuschih entire picture surface by very stringent laws variants and similarities - on the one hand, and the actual forms of female figures - on the other. "

In 1930, Malevich lectured the House of Arts in Leningrad. He was unexpectedly arrested and held for several months in prison, was interrogated. But in 1931, the artist receives an experimental laboratory at the State Russian Museum. His works are included in the exposition "The Art of the era of imperialism. " A large number of works by Malevich is represented in the exhibition "Soviet Art for 15 years. "

In 1933, Malevich was seriously ill. He died May 15, 1935. Urn with his ashes was buried near the cottage in Nemchinovka. Place is marked with white cube with a black square on it. Malevich's funeral turned into a symbolic act. "Malevich's buried with the music and Suprematist coffin - recorded their impressions L. Ginzburg. - The audience was standing on Nevsky tapestries, and in the audience said: probably a foreigner! . . Suprematic coffin was filled with a drawing by the dead. To cover he designed the square, circle and cross, but the cross was taken, although it is the intersection of two planes. In this project, the coffin is the attitude toward death, a stranger and her. "