Name: Kazimir Malevich
Born in: 1879
Country: Russian Empire, USSR
Style: Impressionism, expressionism, cubism, futuism, suprematism
Black Cross. 1915
Head Of A Peasant
Morning In The Village After Snowfall
Paysage With Five Houses
Red Cavalry Gallops
Black and red squares
Head of a peasant girl
Landscape with white house
New suprematist element
Peasant woman carrying buckets
Peasants at blue background
Portrait of Ivan Klyun
Portrait of M.Matiushin
Self-portrain in two dimensions
Soldier of the first division
Woman at piano
Woman with a comb
Yellow quadrangle at white background
Kazimir Severinovich Malevich (23 February 1879 – 15 May 1935) was a Russian painter and art theoretician. He was a pioneer of geometric abstract art and the originator of the avant-garde, Suprematist movement. Kazimir Malevich was born Kazimierz Malewicz to a Polish family, who settled near Kiev in the Kiev Governorate of the Russian Empire (former Polish-Lithuanian Commonwealth, today Ukraine) during the partitions of Poland. His native languages were Russian and Polish.
Kazimir's father managed a sugar factory. Kazimir was the first of fourteen children, only nine of whom survived into adulthood. His family moved often and he spent most of his childhood in the villages of Ukraine, amidst sugar-beet plantations, far from centers of culture. Until age twelve he knew nothing of professional artists, although art had surrounded him in childhood. He delighted in peasant embroidery, and in decorated walls and stoves. He was able to paint in the peasant style. He studied drawing in Kiev from 1895 to 1896. From 1896 to 1904 Kazimir Malevich lived in Kursk. 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. In 1911 he participated in the second exhibition of the group, Soyuz Molodyozhi (Union of Youth) in St. Petersburg, together with Vladimir Tatlinand, 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. Malevich's described himself as painting in a "Cubo-Futuristic" style in 1912. 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 Cézanne 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. In 1914 Malevich exhibited his works in the Salon des Indépendants in Paris together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster, and Vadim Meller, among others. In 1915, Malevich laid down the foundations of Suprematism when 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, Aleksandra Ekster and others. Famous examples of his Suprematist works include, Black Square (1915) and White On White (1918).
Malevich exhibited his first Black Square, now at the Tretyakov Gallery in Moscow, at the Last Futurist Exhibition 0,10 in Petrograd in 1915. A black square placed against the sun appeared for the first time in the 1913 scenery designs for the Futurist opera Victory over the Sun. The second Black Square was painted around 1923. Some believe that the third Black Square (also at the Tretyakov Gallery) was painted in 1929 for Malevich's solo exhibition, because of the poor condition of the 1915 square. One more Black Square, the smallest and probably the last, may have been intended as a diptych together with the Red Square (though of smaller size) for the exhibition Artists of the RSFSR: 15 Years, held in Leningrad (1932). The two squares, Black and Red, were the centerpiece of the show. This last square, despite the author's note 1913 on the reverse, is believed to have been created in the late twenties or early thirties, for there are no earlier mentions of it.
In 1918, Malevich decorated a play, Mystery Bouffe, by Vladimir Mayakovskiy produced by Vsevolod Meyerhold.
He also was interested in aerial photography and aviation, which led him to abstractions inspired by or derived from aerial landscapes.
After the October Revolution (1917), Malevich became a member of the Collegium on the Arts of Narkompros, the Commission for the Protection of Monuments and the Museums Commission (all from 1918–1919). He taught at the Vitebsk Practical Art School in the USSR (now part of Belarus) (1919–1922), the Leningrad Academy of Arts (1922–1927), the Kiev State Art Institute (1927–1929), and the House of the Arts in Leningrad (1930). He wrote the book The World as Non-Objectivity, which was published in Munich in 1926 and translated into English in 1959. In it, he outlines his Suprematist theories. In 1923, Malevich was appointed director of Petrograd State Institute of Artistic Culture, which was forced to close in 1926 after a Communist party newspaper called it "a government-supported monastery" rife with "counterrevolutionary sermonizing and artistic debauchery." The Soviet state was by then heavily promoting a politically sustainable style of art called Socialist Realism—a style Malevich had spent his entire career repudiating. Nevertheless, he swam with the current, and was quietly tolerated by the Communists. In 1927, Malevich traveled to Warsaw where he was given a hero's welcome. There he met with artists and former students Władysław Strzemiński and Katarzyna Kobro, whose own movement, Unism, was highly influenced by Malevich. He held his first foreign exhibit in the Hotel Polonia Palace. From there the painter ventured on to Berlin and Munich for a retrospective which finally brought him international recognition. He arranged to leave most of the paintings behind when he returned to the Soviet Union. Malevich's assumption that a shifting in the attitudes of the Soviet authorities toward the modernist art movement would take place after the death of Vladimir Lenin and Leon Trotsky's fall from power, was proven correct in a couple of years, when the Stalinist regime turned against forms of abstraction, considering them a type of "bourgeois" art, that could not express social realities. As a consequence, many of his works were confiscated and he was banned from creating and exhibiting similar art.
Critics derided Malevich's art as a negation of everything good and pure: love of life and love of nature.
Malevich died of cancer in Leningrad on 15 May 1935. On his deathbed he was exhibited with the black square above him, and mourners at his funeral rally were permitted to wave a banner bearing a black square.
Malevich's life inspires many references featuring events and the paintings as players.