Kazimir Severinovich Malevich ( – 15 May 1935) was a Russian avant-garde artist and art theorist, whose work and writings pioneered the development of abstract painting in the 20th century. He is best known as the founder of Suprematism, a radically non-objective form of painting he introduced in 1915.

Born in Kiev, modern-day Ukraine, to an ethnic Polish family, Malevich worked primarily in Russia and became a leading figure of the Russian avant-garde. His work has also been associated with the Ukrainian avant-garde. Early in his career, he worked in multiple styles, assimilating Impressionism, Symbolism, Fauvism, and Cubism through reproductions and the works acquired by contemporary Russian collectors. In the early 1910s, he exhibited alongside other Russian avant-garde artists, including Mikhail Larionov and Natalia Goncharova. In 1915, working in a Cubo-Futurist mode, Malevich developed Suprematism, a system of pure geometric abstraction on monochromatic grounds. His Black Square (1915), first shown at the Last Futurist Exhibition 0,10 in Petrograd, marked a decisive break with representational painting. He set out his theory in the brochure From Cubism and Futurism to Suprematism, published to accompany the exhibition.

His trajectory mirrored the upheavals around the October Revolution of 1917. In 1918, Malevich began teaching in Vitebsk along with Marc Chagall. In 1919, he founded the UNOVIS artists collective and had a solo show at the Sixteenth State Exhibition in Moscow. His reputation spread westward with solo exhibitions in Warsaw and Berlin in 1927, the only time he ever left Russia. From 1928 to 1930 he taught at the Kiev Art Institute alongside Alexander Bogomazov, Victor Palmov, and Vladimir Tatlin, while publishing in the Kharkiv magazine Nova Generatsiia. In 1930, he was briefly arrested and interrogated by the OGPU in Leningrad. By the early 1930s, Stalin's restrictive cultural policy and the subsequent imposition of Socialist Realism had prompted Malevich to return to figuration and to paint in a representational style. Diagnosed with cancer in 1933, he was not allowed to leave the Soviet Union to seek treatment abroad. While constrained by his progressing illness and Stalin's cultural policies, Malevich painted and exhibited his work until the end of his life. He died on 15 May 1935, at age 56.

His art and his writings influenced Eastern and Central European contemporaries such as El Lissitzky, Lyubov Popova, Alexander Rodchenko and Henryk Stażewski, as well as generations of later abstract artists, such as Ad Reinhardt and the Minimalists. He was celebrated posthumously in major exhibits at the Museum of Modern Art (1936), the Guggenheim Museum (1973), and the Stedelijk Museum in Amsterdam (1989), which has a large collection of his work. In the 1990s, the ownership claims of museums to many Malevich works began to be disputed by his heirs.

Early life (1879-1905)

thumb|Kazimir Malevich (c.1900)

Kazimir Severinovich Malevich was born on either 23 (O.S. 11) February or 26 (O.S. 14) February 1879, to Severin (Seweryn) Antonovich and Liudviga (Ludwika) Alexandrovna. Lucjan Malewicz, Kazimir's uncle, was a Catholic priest and one of the leaders of the 1863 insurrection. The family subsequently settled near Kiev (modern-day Kyiv, Ukraine) in Kiev Governorate of the Russian Empire. Kazimir was the first of fourteen children, only nine of whom survived into adulthood. but he also spoke Russian, as well as Ukrainian due to his childhood surroundings.

Malevich's father worked as manager at several different sugar refineries. Between 1889 and 1896, Malevich's family relocated multiple times due to his father's job. Malevich and other artists in Moscow gained an early exposure to Western modern art through the private collections of Sergei Shchukin and Ivan Morozov.

Malevich is said to have visited both collections soon after his first arrival in Moscow in the fall of 1904. Years later, in 1924, Malevich claimed that the Knave of Diamonds exhibition "shook severely the aesthetic foundations and consequently the foundation of art in society and criticism". During that time, Malevich took on some commercial projects as a way to support himself financially. In 1911, he worked with the company Brocard & Co., designing a bottle for their eau de cologne called Severny, which was used by the company through the mid-1920s. The base of the bottle consisted of a jagged form resembling an iceberg and the stopper featured a small figurine of a polar bear.

Also in 1911, Malevich participated in the second exhibition of the avant-garde group Soyuz Molodyozhi (Union of Youth) in St. Petersburg, where he showed some of his Cubist-inspired paintings. Other artists included Goncharova, Larionov, Vladimir Tatlin, and David Burliuk. Intending to focus more on Russian subject matter, they embraced a deliberately "primitive" approach, favoring flattened forms and simplified visual structures. Among such experiments was a technique called zaum, or “transrational” language, wherein Russian Futurist technique used invented sounds and words to bypass reason and evoke a higher reality.

Around that time, Burliuk led a Russian futurist parade in Moscow, where artists with painted faces recited futurist poetry. Malevich described himself in this period as working in a “Cubo-Futurist” style. Among other paintings, Malevich exhibited Morning in the Country after Snowstorm and Knifegrinder or Principle of Glittering, both made in 1912, at Target for the first time. Its allegorical plot depicts the Sun—symbolizing the old order—being captured and buried, reflecting the Futurist celebration of technological progress and the rejection of past traditions. On June 28, 1914, Archduke Franz Ferdinand was assassinated in Sarajevo, precipitating the outbreak of the Great War (later known as World War I). Sometime in the fall or winter of 1914, Malevich made Reservist of the First Division, a Cubo-Futurist work that incorporated collage, a post stamp with an image of Tsar Nicholas, printed text, and a thermometer affixed to the canvas, among other non-traditional compositional elements. He also created a series of propagandistic chromolithographs in various formats in support of Russia's entry into the war.<gallery widths="150" heights="180">

File:The Knife Grinder Principle of Glittering by Kazimir Malevich.jpeg|The Knifegrinder or Principle of Glittering (1912, Yale University Art Gallery) shown at the Target exhibition in Moscow in 1913

File:Samovar (Malevich, 1913).jpg|Samovar (1913, Museum of Modern Art), exhibited at the Salon des indépendants in 1914

File:Head of a Peasant Girl.jpg|Head of a Peasant Girl (1912-1913, Stedelijk Museum)

File:1913 Malevich Portrait von Mikhail Matjuschin anagoria.JPG|Portrait of Mikhail Matyushin (1913, Tretyakov Gallery)

File:An Englishman in Moscow, by Kazimir Malevich.jpg|Englishman in Moscow (1914, Stedelijk Museum)

File:Reservist of the First Division (Malevich, 1914).jpg|Reservist of the First Division (1914, Museum of Modern Art)

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Suprematism (1915-1918)

Last Futurist Exhibition 0,10 (1915)

In March 1915, Malevich took part in the Tramway V: First Futurist Exhibition in Petrograd, organized by Ivan Puni and his wife Ksenia Boguslavskaya, presenting collage-based works still within a Cubo-Futurist idiom. At the same time, Malevich became increasingly critical of Cubo-Futurism's dependence on the object, which he would later argue prevented painting from achieving self-sufficiency of pure form. and White On White (1918).

The Black Square

Malevich exhibited his first Black Square, now at the Tretyakov Gallery in Moscow, in Petrograd in 1915.

While Malevich's ideas and theories behind Suprematism were grounded in a belief in the spiritual and transformative power of art, he saw Suprematism as a way to access a higher, more pure realm of artistic expression and to tap into the spiritual through abstraction. Thus, the overarching philosophy of Suprematism expressed in various manifestos would be that he "transformed himself in the zero of form and dragged himself out of the rubbish-heap of illusion and the pit of naturalism. He destroyed the ring of the horizon and escaped from the circle of objects, moving from the horizon-ring to the circle of spirit".

Malevich's student Anna Leporskaya observed that Malevich "neither knew nor understood what the black square contained. He thought it so important an event in his creation that for a whole week he was unable to eat, drink or sleep". In 1918, Malevich decorated a play, Mystery-Bouffe, by Vladimir Mayakovskiy produced by Vsevolod Meyerhold. He was interested in aerial photography and aviation, which led him to abstractions inspired by or derived from aerial landscapes.<gallery widths="170" heights="170">

File:Kazimir Malevich, 1915, Black Suprematic Square, oil on linen canvas, 79.5 x 79.5 cm, Tretyakov Gallery, Moscow.jpg|Black Square (1915, Tretyakov Gallery)

File:Black circle.jpg|Black Circle (motive 1915, painted 1924, State Russian Museum)

File:Black Cross.jpg|Black Cross (1920s, State Russian Museum)

File:Kazimir malevich, quadrato rosso (realismo del pittore di una campagnola in due dimensioni), 1915.JPG|Red Square (1915, State Russian Museum)

File:Казимир Малевич, Супрематическая композиция, 1915.jpg|Suprematist Composition (1915, Beyeler Foundation)

File:Malevich-Suprematism..jpg|Suprematist Painting: Eight Red Rectangles (1915, Stedelijk Museum)

File:Suprematist Composition - Kazimir Malevich.jpg|Suprematist Composition (1916,private collection), sold at Christie's New York for US$85,812,500 in 2018

File:Supremus 55 (Malevich, 1916).jpg|Supremus No. 55 (1916, Museum of Art, Krasnodar)

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Painting technique

According to an observation by radiologist and art historian Milda Victurina, one of the features of Kazimir Malevich's painting technique was the layering of paints one on another to get a special kind of colour spots. For example, Malevich used two layers of colour for the red spot—the lower black and the upper red. The light ray going through these colour layers is perceived by the viewer not as red, but with a touch of darkness. This technique of superimposing the two colours allowed experts to identify fakes of Malevich's work, which generally lacked it.

Post-revolutionary years (1918-1935)

thumb|Kazimir Malevich with his paintings in Leningrad (1924)

After the October Revolution (1917), the Russian Civil War ensued. Between 1918 and 1919, Malevich became a member of the Collegium on the Arts of Narkompros, the Commission for the Protection of Monuments and the Museums Commission. He taught at the Vitebsk Practical Art School in Belarus (1919–1922) alongside Marc Chagall, the Leningrad Academy of Arts (1922–1927), the Kiev Art Institute (1928–1930), and the House of the Arts in Leningrad (1930). He wrote the book The Non-Objective World, which was published in Munich in 1926 and translated into English in 1959. In it, he outlines his Suprematist theories.

Following the Bolshevik victory in the Civil War, the Union of Soviet Socialist Republics was established in 1922, led by Vladimir Lenin. 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 an idealized, propagandistic 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.

Stalinism and censorship

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 in 1924 and Leon Trotsky's fall from power was proven correct in a couple of years, when the government of Joseph Stalin 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 removed from his teaching position.

In autumn 1930, he was arrested and interrogated by the OGPU in Leningrad, accused of Polish espionage, and threatened with execution. He was released from imprisonment in early December.

Travel to Poland and Germany (1927)

thumb|Banquet celebrating Kazimir Malevich's 1927 exhibition at [[Hotel Polonia Palace|Hotel Polonia in Warsaw, with multiple Suprematist paintings seen hung on the wall in the back]]

In March 1927, Malevich traveled to Warsaw where he exhibited his work at the Polish Arts Club housed in the Polonia Hotel. He met with several Polish artists, including his former students Władysław Strzemiński (whose own theory of Unism was highly influenced by Malevich), sculptor Katarzyna Kobro and Henryk Stażewski, an abstract painter associated with the Polish Constructivist movement.

While generally greeted with enthusiasm, Malevich faced criticism from some contemporary artists, including Mieczysław Szczuka, who argued that Suprematism, as understood by Malevich, was no longer relevant for Polish utilitarianism-oriented avant-garde and that the artist was "a Romantic who loves painterly means for their own sake". At the end of March 1927, Malevich and Tadeusz Peiper, a Polish poet and art critic who was the editor of the literary journal Zwrotnica, left Warsaw for Berlin. In April that year, him and Peiper visited the Bauhaus in Dessau, where they met with Walter Gropius and László Moholy-Nagy.

Death

Malevich died of cancer in Leningrad on 15 May 1935. On his deathbed, Malevich had been exhibited with the Black Square above him, and mourners at his funeral rally were permitted to wave a banner bearing a black square. His ashes were sent to Nemchinovka, and buried in a field near his dacha. Nikolai Suetin, a friend of Malevich's and a fellow artist, designed a white cube with a black square to mark the burial site. The memorial was destroyed during World War II. The city of Leningrad bestowed a pension on Malevich's mother and daughter.

In Nazi Germany his works were banned as "Degenerate Art". In 2013, an apartment block was built on the place of the tomb and burial site of Kazimir Malevich. Another nearby monument to Malevich, put up in 1988, is now also situated on the grounds of a gated community. Based on surviving correspondence, some scholars have also suggested that Malevich considered Russia an "adopted place to live and work" rather than a "true homeland". on lands that had previously been part of the Polish–Lithuanian Commonwealth of parents who were ethnic Poles. who would sign his artwork in the Polish form of his name as Kazimierz Malewicz. His mother Ludwika wrote poetry in Polish and sang Polish songs, and kept a record of the Polish families living in the area. In a 1926 visa application to travel to France, Malewicz claimed Polish as his nationality. In 2013, Malevich's family in New York City and fans founded the not-for-profit The Rectangular Circle of Friends of Kazimierz Malewicz, whose dedicated goal is to promote awareness of Kazimir's Polish ethnicity. Scholar Marie Gasper-Hulvat notes that this may have been in part motivated by Malevich's desire to avoid anti-Polish discrimination, since Ukraine was at that time part of the Soviet Union. It is sometimes claimed that he self-identified as a Ukrainian throughout his life. Similarly, the French art historian Gilles Néret claimed that Malevich, while at times identifying as Polish "out of tact or mischief" and using the Polish spelling of his name, always emphasized his Ukrainian background.

Following the Russian invasion of Ukraine in 2022 there has been more political and cultural pressure to reconsider his Russian nationality and to identify him instead as a Ukrainian painter. This push resulted in the Metropolitan Museum of Art relabeling him as a Ukrainian painter, and later Stedelijk Museum labeling him as a "Ukrainian painter of Polish origin". The relabeling caused a backlash from Russia, including a statement from the Ministry of Foreign Affairs.

Legacy

Alfred H. Barr Jr. included several paintings in the groundbreaking exhibition "Cubism and Abstract Art" at the Museum of Modern Art in New York in 1936. In 1939, the Museum of Non-Objective Painting opened in New York, whose founder, Solomon R. Guggenheim—an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art.

The first U.S. retrospective of Malevich's work in 1973 at the Solomon R. Guggenheim Museum provoked a flood of interest and further intensified his impact on postwar American and European artists.

Collections

Malevich's works are held in several major art museums, including the State Tretyakov Gallery in Moscow, and in New York, the Museum of Modern Art According to the Hermitage website, this was the largest private contribution to state art museums since the October Revolution.

In 2008, the Stedelijk Museum restituted five works to the heirs of Malevich's family from a group that had been left in Berlin by Malevich, and acquired by the gallery in 1958, in exchange for undisputed title to the remaining pictures. On 3 November 2008, one of these works entitled Suprematist Composition from 1916, set the world record for any Russian work of art and any work sold at auction for that year, selling at Sotheby's in New York City for just over US$60 million (surpassing his previous record of US$17 million set in 2000). In May 2018, the same painting, Suprematist Composition (1916), sold at Christie's New York for over US$85 million (including fees), a record auction price for a Russian work of art.

thumb|Original Malevich-designed [[frost glass bottle with craquelure for "Severny eau de cologne" (1911–1922)]]

Malevich's life inspires many references featuring events and the paintings as players. The smuggling of Malevich paintings out of Russia is a key to the plot line of writer Martin Cruz Smith's thriller Red Square. Noah Charney's novel, The Art Thief tells the story of two stolen Malevich White on White paintings, and discusses the implications of Malevich's radical Suprematist compositions on the art world. British artist Keith Coventry has used Malevich's paintings to make comments on modernism, in particular his Estate Paintings. Malevich's work also is featured prominently in the Lars von Trier film, Melancholia. At the Closing Ceremony of the 2014 Winter Olympics in Sochi, Malevich visual themes were featured (via projections) in a section on 20th century Russian modern art.

In 2015, a local businessman in Konotop, Sumy Oblast, Ukraine commissioned Yurii Vedmid to create a monument of Kazimir Malevich, who lived there from 1894 to 1895. In 2016, it became the communal property of the Konotop community and was relocated to the city square outside the House of Trade.

Autobiographies

Malevich wrote two biographical essays, a shorter one in 1923–25, and a much longer account in 1933, representing the artist's explanation of his own evolution up to the appearance of suprematism at the 1915 "0–10" exhibition in Petrograd.

Both are published in:

Abridged and revised translations are published in:

The 1923–25 autobiography appears in:

The 1933 autobiography appears in:

See also

  • List of Russian artists
  • Sergei Senkin
  • Oberiu
  • UNOVIS

Footnotes

References

Bibliography

  • Crone, Rainer, Kazimir Severinovich Malevich and David Moos. Kazimir Malevich: The Climax of Disclosure. Chicago: University of Chicago Press, 1991.
  • Dreikausen, Margret, Aerial Perception: The Earth as Seen from Aircraft and Spacecraft and Its Influence on Contemporary Art (Associated University Presses: Cranbury, NJ; London, England; Mississauga, Ontario: 1985).
  • Drutt, Matthew; Malevich, Kazimir, Kazimir Malevich: suprematism, Guggenheim Museum, 2003,
  • Honour, H. and Fleming, J. (2009) A World History of Art. 7th edn. London: Laurence King Publishing.
  • Malevich, Kasimir, The Non-objective World, Chicago: P. Theobald, 1959.
  • Malevich and his Influence, Kunstmuseum Liechtenstein, 2008.
  • Milner, John; Malevich, Kazimir, Kazimir Malevich and the art of geometry, Yale University Press, 1996.
  • Nakov, Andrei, Kasimir Malevich, Catalogue raisonné, Paris, Adam Biro, 2002
  • Nakov, Andrei, vol. IV of Kasimir Malevich, le peintre absolu, Paris, Thalia Édition, 2007
  • Néret, Gilles, Kazimir Malevich and Suprematism 1878–1935, Taschen, 2003.
  • Petrova, Yevgenia, Kazimir Malevich in the State Russian Museum. Palace Editions, 2002. . (English Edition)
  • Shatskikh, Aleksandra S, and Marian Schwartz, Black Square: Malevich and the Origin of Suprematism, 2012.
  • Shishanov, V.A. Vitebsk Museum of Modern Art: a History of Creation and a Collection. 1918–1941. – Minsk: Medisont, 2007. – 144 p.Mylivepage.ru
  • Tedman, Gary. Soviet Avant Garde Aesthetics, chapter from Aesthetics & Alienation. pp 203–229. 2012. Zero Books.
  • Tolstaya, Tatyana, The Square , The New Yorker, 12 June 2015
  • Das weiße Rechteck. Schriften zum Film, herausgegeben von Oksana Bulgakowa. PotemkinPress, Berlin 1997,
  • The White Rectangle. Writings on Film. (In English and the Russian original manuscript). Edited by Oksana Bulgakowa. PotemkinPress, Berlin / Francisco 2000,
  • Malevich works, MoMA
  • Kazimir Malevich, Guggenheim Collection Online
  • Kasimir Malevich Works Online, Artcyclopedia
  • Floirat, Anetta. 2016, The Scythian element of the Russian primitivism, in music and visual arts . Based on the work Goncharova, Malevich, Roerich, Stravinsky and Prokofiev
  • Peter Brooke, Deux Peintres Philosophes – Albert Gleizes et Kasimir Malévitch and Quelques Réflexions sur la Littérature Actuelle du Cubisme, both Ampuis (Association des Amis d'Albert Gleizes) 1995
  • History of Malevich-designed Perfume bottle of the eau de cologne "Severny"