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 Plane is flight | Red Square | Overmatch | Harvest Rye | Blooming Apple trees |
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Pablo de Cespedes
(1538 - July 26, 1608) was a Spanish painter, poet, and architect. His father, Alonso Cespedes, was descended of a noble Castilian family, once settled at Ocaña, and the name of his mother, who was a native of Alcolea de Torote, was Olaya de Arroya. Pablo was born and brought up in the house of his father's maternal uncle, Francisco Lopez de Aponte, Canon of Cordoba, where he received a learned education. At the age of eighteen, in 1556, he was sent to the Universidad Complutense in Alcale de Henares, and there, devoted himself to the acquirement of Oriental languages and theology. He later moved to Rome where he studied painting under Federico Zuccari. He was in Rome in February 1559, engaged in conducting certain negotiations for the Archbishop Carranza de Miranda, of Toledo, who then stood charged with heresy before the Inquisition of Valladolid. On the 17th of that month he addressed a letter to the prelate, informing him how his business stood at the Vatican, in which he incautiously reflected on the conduct of the Inquisitor-General Valdez, and the Holy Officeean offence which no Inquisitor-General would forgive. This document and others were seized with the primate's papers; he was therefore denounced by the tribunal, and but for his fortunate absence, would have been imprisoned. It is probable that he did not venture back into Spain for many years, until he had covered his sins with the protecting robes of the Church. He remained in Italy for over 20 years and built a reputation as an artist. His only surviving works from that period are the frescoes he painted in the Bonfili chapel at the Santa Trinite dei Monti church in Rome. He returned to Spain in 1577, and was appointed as the canon of the Cerdoba cathedral. He continued to write books on antiquarian topics such as the architecture of the temple of Solomon. He befriended Arias Montano. In 1604 he composed his Discourse of Ancient and Modern Painting and Sculpture in which he recounts anecdotes of Renaissance masters of Italy.
Orozco, Jose Clemente
Mexican, 1883-1949 Mexican mural painter. When he lost his left hand at age 17, he abandoned architectural studies for painting, pursuing Mexican themes. As a caricaturist for a revolutionary paper, he explored Mexico City's slums and painted a series of watercolours, House of Tears, on the lives of prostitutes. The reaction of moralists forced him to flee to the U.S. in 1917, but in 1919 the new government of Álvaro Obreg??n welcomed him back, and he joined Diego Rivera and David Alfaro Siqueiros in creating large-scale murals for public buildings, in which he continued his radical social commentary. Again forced to abandon Mexico in 1927, he worked until 1934 in the U.S., where his style evolved and matured in murals from coast to coast. In 1934, his international reputation firmly established, he returned to Mexico and embarked on his most technically impressive and emotionally expressive murals, including Catharsis (1934),
Pekka Halonen
Pekka Halonen (23 September 1865 - 1 December 1933) was a painter of Finnish landscapes and people. He was born in Lapinlahti. He lived with his family in a home and studio on Lake Tuusula in Järvenpää, Finland that he, himself, designed and named Halosenniemi. The beautiful and serene building is now a museum that includes original furnishings and Halonenes own art on the walls. There, on the shores of Lake Tuusula where Pekka Halonen resided, an artistse community developed and flourished, helping to develop a sense of Finnish national identity. Halosenniemi was designed with the two story studios of Paris in mind with high ceilings and tall windows in the studio and second floor living quarters accessible by a set of stairs and a balcony that overlooked the studio. Adjacent to the house, Halonen built a sauna and, in typical Finnish tradition, the sauna also served as a laundry. Halonen stated that he never painted for anyone but himself. He felt that eArt should not jar the nerves like sandpaper - it should produce a feeling of peace.e His father was a peasant from Lapinlahti. Halonen studied at the Art Society's drawing school in Helsinki. In 1890 he moved to Paris where he studied at the Academie Julian and later under Paul Gauguin. He died in Tuusula. There is a painting by Pekka Halonen in the post-impressionist section of the Museum of Fine Arts in Budapest, Hungary. Until May 2013 in the Groninger Museum, the Netherlands: Pekka Halonen, Eero Järnefeldt, Helene Schjerfbeck and Akseli Gallen Kallela in the exhibition 'Nordic Art: The Modern Breakthrough'.