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 :. | taking in the rye | black square | Black Circle, signed 1913 | painterly realism | head of a peasant |
Related Artists:
Cornelis Hendriksz Vroom
(1591, Haarlem - buried September 16, 1661, Haarlem) was a Dutch Golden Age landscape painter. According to the RKD he was the son of the painter Hendrick Cornelisz Vroom, the older brother of Frederick and Jacob, and the father of the painter Jacob Cornelisz Vroom.[1] He became a member of the Haarlem Guild of St. Luke in 1634. According to Houbraken in 1718, who repeated a list of names from Theodorus Schrevelius's 1648 book on Haarlem called Harlemias, he was the son of Hendrick Cornelisz Vroom and a good landscape painter of Haarlem along with "Joh. Jakobsz.", who was in Italy for many years, "Nicol. Zuyker", Gerrit Claesz Bleker, Salomon van Ruysdael, and Reyer van Blommendael.
WITTE, Emanuel de
Dutch Baroque Era Painter, ca.1617-1691 Dutch painter. He was one of the last and, with Pieter Saenredam, one of the most accomplished 17th-century artists who specialized in representing church interiors. He trained with Evert van Aelst (1602-57) in Delft and in 1636 joined the Guild of St Luke at Alkmaar, but he was recorded in Rotterdam in the summers of 1639 and 1640. In October 1641 his daughter was baptized in Delft, where he entered the Guild of St Luke in June 1642 and lived for a decade, moving to Amsterdam c. 1652. He began his long career as an unpromising figure painter, as can be seen in the Vertumnus and Pomona (1644) and two small pendant portraits (1648; all Rotterdam, Mus. Boymans-van Beuningen). Jupiter and Mercury in the House of Philemon and Baucis (1647) and a Rembrandtesque Holy Family
Johann Moritz Rugendas
Augsburg 1802-1858 Weilheim an der Teck,was a German painter, famous for his works depicting landscapes and ethnographic subjects in several countries in the Americas, in the first half of the 19th century. Rugendas was born to the seventh generation of a family of noted painters and engravers of Augsburg (he was a grandson of Georg Philipp Rugendas, 1666-1742, a celebrated painter of battles), and studied drawing and engraving with his father, Johann Lorenz Rugendas II (1775-1826). From 1815 to 1817 he studied with Albrecht Adam (1786-1862), and later in the Academy de Arts of Munich, with Lorenzo Quaglio II (1793-1869). Inspired by the artistic work of Thomas Ender (1793-1875) and the travel accounts in the tropics by Austrian naturalists Johann Baptist von Spix (1781-1826) and Carl von Martius (1794-1868), Rugendas arrived in Brazil in 1821, where he was soon hired as an illustrator for Baron von Langsdorff's scientific expedition to Minas Gerais and Sao Paulo. Langsdorff was the consul-general of the Russian Empire in Brazil and had a farm in the northern region of Rio de Janeiro, where Rugendas went to live with other members of the expedition. In this capacity, Rugendas visited the Serra da Mantiqueira and the historical towns of Barbacena, Sao Joao del Rei, Mariana, Ouro Preto, Caete, Sabara and Santa Luzia.