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 :. | Reapers | Suprematism | Epitaphios (The Shroud of Christ) (mk19) | Landscape | Wedding |
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christopher r.w.nevinson
christopher r.w.nevinson(1889 to 1946)English painter. Son of H. W. Nevinson, the war correspondent and author, he studied painting at St John's Wood, London, in 1908, although his formative years as a student were spent at the Slade School of Art (1909-12) in London. He was influenced by Impressionism and Post-Impressionism, as well as Sandro Botticelli, as seen from an early Self-portrait (1911; London, Tate). The Futurist Exhibition of March 1912, held at the Sackville Gallery, London, proved decisive for his development. He met Gino Severini and returned with him to Paris where he encountered Umberto Boccioni, Ardengo Soffici, Guillaume Apollinaire and Amedeo Modigliani. He continued his studies at the Acad?mie Julian and the Cercle Russe in Paris, announcing his affiliation with Futurism by exhibiting a painting called Rising City (1912; lost) in the Friday Club exhibition of January 1913. Its title was a homage to Boccioni's painting, City Rises (1910; New York, MOMA), which had been shown at the Futurist Exhibition.
LIPPI, Filippino
Italian Early Renaissance Painter, ca.1457-1504 Son of Filippo Lippi. He was a painter of altarpieces, cassone panels and frescoes and also an exceptional draughtsman. His success lay in his ability to absorb, without slavishly following, the most popular trends in contemporary painting. He worked in Florence and Rome at a time when patrons were beginning to intermingle personal, religious, social and political ideals in their ambitions for palaces and chapels: with the support of wealthy and erudite patrons, such as Lorenzo de' Medici and Filippo Strozzi, he won important civic and private commissions.
Charles W. Bartlett
(born 1 June 1860 in Bridport, Dorset) was an English painter and printmaker. He studied metallurgy and worked in that field for several years. At age 23, he enrolled in the Royal Academy in London, where he studied painting and etching. After three years of study in London, he entered the private studio school Academie Julian in Paris, where he studied under Jules Joseph Lefebvre (1836-1911) and Gustave Boulanger (1824-1888). In 1889, he returned to England and married Emily Tate, but shortly thereafter, his wife and infant son died in childbirth. Bartlett then traveled to Europe, spending several productive years in Holland, Brittany and Venice with his friend and fellow artist Frank Brangwyn (1867-1956). Brangwyn is believed to have introduced Bartlett to Japanese prints. Bartlett produced some of his most important early works on the Continent, especially studies of peasants painted in broad areas of color. He was invited to join the Societe Nationale des Beaux-Arts in France in 1897. In 1898, he returned to England and married Catherine Kate Main.