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 :. | Harvest Rye | black circle | Mother-s Portrait | An Englisher in Moscow | Black Square and Red Square |
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Leon Spilliaert
Belgian 1881-1946 Leon Spilliaert (1881 ?C 1946) was a Belgian symbolist painter and graphic artist. Spilliaert was born in Ostend and from childhood displayed an interest in art and drawing. A prolific doodler and autodidact, he was predominantly a self taught artist. Sickly and reclusive, he spent most of his youth sketching scenes of ordinary life and the Belgian countryside. When he was 21 he went to work in Brussels for Edmond Demon, a publisher of the works of symbolist writers, which Spilliaert was to illustrate. He especially admired the work of Edgar Allan Poe. Watercolor, gouache, and charcoal were the means by which he produced much of his best work, including a number of self-portraits executed in black crayon in the early years of the twentieth century. A significant influence on Spilliaert was Odilon Redon, whose expressive use of black finds parallels in his own work. Frequently depicting a lone figure in a dreamlike space, Spilliaert's paintings convey a sense of melancholy and silence. His later work shows a concentration on seascapes. He died in 1946 in Brussels.
George H Story
1835-1923
WTEWAEL, Joachim
Dutch painter (b. 1566, Utrecht, d. 1638, Utrecht). Dutch painter and draughtsman. He was one of the last exponents of MANNERISM. From c. 1590 until 1628, the year of his latest known dated paintings, he employed such typical Mannerist formal devices as brilliant decorative colour, contrived spatial design and contorted poses. He sometimes combined such artifice with naturalism, and this amalgam represents the two approaches Dutch 16th- and 17th-century theorists discussed as uyt den geest ('from the imagination') and naer 't leven ('after life'). Wtewael's activity reflects the transition from Mannerism to a more naturalistic style in Dutch art. Slightly over 100 of his paintings and about 80 drawings are known. Subjects from the Bible and mythology predominate;