1878-1935 Kasimir Malevich Gallery 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 (1904?C1910). In 1911 he participated in the second exhibition of the group Soyuz Molodyozhi (Union of Youth) in St. Petersburg, together with Vladimir Tatlin and, 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. 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 Cezanne 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. Already in the same year the Cubo-Futurist opera Victory Over the Sun with Malevich's stage-set became a great success. In 1914 Malevich exhibited his works in the Salon des Independants in Paris together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster and Vadim Meller, among others. It remains one of the great mysteries of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous. Be that as it may, in 1915 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 and A. Ekster, among others. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918). In 1918 Malevich decorated a play Mystery Bouffe by Vladimir Mayakovskiy produced by Vsevolod Meyerhold. Malevich also acknowledged that his fascination with aerial photography and aviation led him to abstractions inspired by or derived from aerial landscapes. Harvard doctoral candidate Julia Bekman Chadaga writes: ??In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception .... In a series of diagrams illustrating the ??environments' that influence various painterly styles, the Suprematist is associated with a series of aerial views rendering the familiar landscape into an abstraction..." (excerpted from Ms. Bekman Chadaga's paper delivered at Columbia University's 2000 symposium, "Art, Technology, and Modernity in Russia and Eastern Europe").  Related Paintings of Kasimir Malevich :. | The man running | Suprematist Painting (mk09) | Harvest Woman | Conciliarism Painting | Two men portrait |
Related Artists:
Louis Tocque
Paris 1696-1772
brianchon

BARRA, Didier
French painter (b. 1590, Metz, d. 1644, Napoli French painter, active in Italy. He was for a long time confused with FRAN?OIS DE NOM?, and the work of both artists was thought to be by a Mons? Desiderio, a 'highly praised painter of perspectives and city scenes' (de Dominici). It is now generally accepted that Mons? Desiderio was the pseudonym of Didier Barra (1982 exh. cat.), son of Cl?ment Barra. Didier Barra left Metz probably c. 1608, when his name appeared for the last time in the city archives. From c. 1630 he was active in Naples, where he came into contact with landscape and townscape painters from northern Europe. De Dominici wrote that he was associated with Belisario Corenzio. The point of departure in reconstructing Barra's oeuvre is the Panoramic View of Naples (Naples, Mus. N. S Martino), which is signed and dated Desiderius Barra ex civitate Methensi in Lotharingia, F. 1647. The picture is a precise and panoramic view of Naples from the sea, from a single viewpoint, enriched by lively brushwork and with spirited scenes of shipping in the foreground. Its topographical precision suggests that Barra was influenced by the engravings of large views of Naples made by Alessandro Baratta ( fl 1629-30), and he may himself have trained as a cartographer. On the basis of this picture, several views of Naples have been attributed to Barra.