1878-1935 Russian painter, printmaker, decorative artist and writer of Ukranian birth. One of the pioneers of abstract art, Malevich was a central figure in a succession of avant-garde movements during the period of the Russian revolutions of 1905 and 1917 and immediately after. The style of severe geometric abstraction with which he is most closely associated, SUPREMATISM, was a leading force in the development of CONSTRUCTIVISM, the repercussions of which continued to be felt throughout the 20th century. His work was suppressed in Soviet Russia in the 1930s and remained little known during the following two decades. The reassessment of his reputation in the West from the mid-1950s was matched by the renewed influence of his work on the paintings of Ad Reinhardt and on developments  Related Paintings of Kazimir Malevich :. | unemployed girl | Suprematism, Museum of Art, Krasnodar | formula of suprematism | suprematism | Cow and Fiddle |
Related Artists:
daniel mytens
1629 collection the duke of hamilton
ZEILLER, Jakob Johann
German painter (b. 1708, Reutte, d. 1783, Reutte) Austrian painter. Trained initially by his father, Paul Zeiller (1658-1738), he subsequently studied in Italy (1723-32) with Sebastiano Conca and at the Accademia di S Luca in Rome, and with Francesco Solimena in Naples, then at the Kaiserliche Akademie in Vienna. From 1733 to 1743 he was a regular collaborator on Paul Troger's frescoes, contributing mainly architectural frameworks painted in the style of the Bolognese quadraturisti. He retained such frameworks in his own paintings throughout his life, even in south Germany where this was generally unusual. Troger's influence on the style of Zeiller's figures and on his iconographic repertory was such that his first independent works in Austria
Charles Alphonse du Fresnoy
(1611C1665), French painter and writer on his art, was born in Paris, son of an apothecary. He was destined for the medical profession, and well educated in Latin and Greek; but, having a natural propensity for the fine arts, he would not apply to his intended vocation, and was allowed to learn the rudiments of design under Perrier and Vouet. At the age of twenty-one he went off to Rome, with no resources; he drew ruins and architectural subjects. After two years thus spent he re-encountered his old fellow-student Pierre Mignard, and by his aid obtained some amelioration of his professional prospects. He studied Raphael and the antique, went in 1633 to Venice, and in 1656 returned to France. During two years he was now employed in painting altar-pieces in the château du Raincy, landscapes, etc. His death was caused by an attack of apoplexy followed by palsy; he expired at Villiers-le-Bel, near Paris. He never married. His pictorial works are few; they are correct in drawing, with something of the Caracci in design, and of Titian in colouring, but wanting fire and expression, and insufficient to keep his name in any eminent repute. He is remembered now almost entirely as a writer rather than painter. His Latin poem, De arte graphica, was written during his Italian sojourn, and embodied his observations on the art of painting; it may be termed a critical treatise on the practice of the art, with general advice to students. The precepts are sound according to the standard of his time; the poetical merits slender enough. The Latin style is formed chiefly on Lucretius and Horace.