Fully lithographed edition. 22x18 cm. Most of the 34 drawings are arranged in pairs on a double folding sheet. Of the 14 known specimens, 11 are located abroad. The greatest rarity, perhaps one of the most expensive Russian publications!
Suprematism(from lat. supremus - the highest) - a direction in avant-garde art, founded in the 1st half of the 1910s. K. S. Malevich. Being a kind of abstract art, Suprematism was expressed in combinations of multi-colored planes of the simplest geometric outlines (in the geometric forms of a straight line, square, circle and rectangle). The combination of multi-colored and different-sized geometric figures forms balanced asymmetric Suprematist compositions permeated with internal movement. On initial stage this term, originating from the Latin root suprem, meant dominance, the superiority of color over all other properties of painting. In non-objective canvases, paint, according to K. S. Malevich, was for the first time freed from an auxiliary role, from serving other purposes - Suprematist paintings became the first step of “pure creativity”, that is, an act that equalized the creative power of man and Nature (God). Probably, this, and not the lack of an equipped printing base at the Vitebsk Art School, explains the lithographed nature of two of Malevich's most famous manifestos - "On New Systems in Art" and "Suprematism". Both of them have the character of original teaching aids, since they were intended for students of the Vitebsk art workshops, and in this regard, they should be considered as two parts of one course. The first of them provides a detailed aesthetic substantiation of new artistic trends, the second reveals the nature of Suprematism and outlines ways for its further development. Of course, the statement about the "educational" nature of these works cannot be taken literally. If they are "teaching aids", then in a very specific sense, close to that which we usually put in the designation of a religious text as a "textbook of life." Efros's comparison with prophetic writings can be equally applied to them, it is enough to read the following words of Malevich: new form, leaving his current image in the fading green animal world. Although both of these books already belong to the next, post-futuristic period in the development of the avant-garde, it is impossible to do without them in our study. For it was they who marked the extreme point in that movement towards the merging of the artistic and the "propaganda" that distinguished the development of Russian futurism. For Malevich, in his own words, it was a time when "brushes are moving further and further away" from him. After showing a series of "white" canvases at a solo exhibition in 1919, which completed the four-year period of development of pictorial Suprematism, the artist faced the fact of exhaustion. artistic means. This state of crisis was captured in one of Malevich's most dramatic texts - in his manifesto "Suprematism", written for the catalog of the exhibition "Non-Objective Creativity and Suprematism".
The feeling of the grandeur of the revolution he made, which excludes any possibility of returning to the world of traditional aesthetic ideas - this is perhaps the main thing that determines the content of this text. In it, the artist tries to comprehend the significance of his breakthrough. The "white free abyss", which opened up to the gaze of the artist, is realized as "the true real representation of infinity". The attraction of this abyss turns out to be no less, if not stronger, for him than the attraction of the Black Square. In the text, the desire to "stand on the edge" of the abyss sometimes outweighs the desire to figure out what's next? However, already here Malevich comes to the conclusion that Suprematism as a system is a form of manifestation of creative will, capable of "through Suprematist philosophical color thinking ... to make a justification for new phenomena." Conceptually, this discovery is extremely significant, marking the end traditional forms visual arts. “Painting in Suprematism is out of the question,” Malevich declared a year later in the introductory text to the album “Suprematism,” “painting has long been outdated and the artist himself is a prejudice of the past.” The further path of development of art now lies in the realm of a pure mental act. “It turned out, as it were,” the artist remarks, “that a brush cannot get what a pen can. It is disheveled and cannot reach the convolutions of the brain, the pen is sharper.”
In these frequently quoted words, those tense relationships between the "pen" and the "brush" that underlay the manifestation activity of the Russian futurists manifested themselves with the utmost clarity. Malevich was the first to break the delicate balance that existed between them, giving a clear preference to "pen". The justification of world-building as a "pure action", to which he came in "Suprematism", lies already beyond the scope of the futuristic movement proper, giving impulses further development avant-garde art. Suprematism has become one of the central phenomena of the Russian avant-garde. Beginning in 1915, when the first abstract works by Malevich were exhibited, including Black Square, Suprematism was influenced by such artists as Olga Rozanova, Lyubov Popova, Ivan Klyun, Nadezhda Udaltsova, Alexandra Exter, Nikolai Suetin, Ivan Puni, Nina Genke, Alexander Drevin, Alexander Rodchenko and many others. In 1919, Malevich and his students created the UNOVIS group (Approvers of the New Art), which developed the ideas of Suprematism. In the future, even in the conditions of persecution of avant-garde art in the USSR, these ideas were embodied in architecture, design, and scenography. With the onset of the 20th century, the grandiose processes of birth took place in art with increasing intensity. new era equal in importance to the Renaissance. Then there was a revolutionary discovery of reality. The ideas of "cathedral creativity", cultivated by the symbolists, were specifically refracted among the reforming artists who rejected symbolism. A new attempt to broadly unite leftist painters was made at the First Futurist Exhibition of Paintings "Tram B", which opened in March 1915 in Petrograd. At the exhibition Tramway V, Malevich presented sixteen works: among them are abstruse cubo-futurist canvases Lady at a billboard pole, Lady in a tram, Sewing machine. In the Englishman in Moscow and the Aviator, with their outlandish, mysterious images, incomprehensible phrases, letters, numbers, echoes of the December performances sounded latently, as well as in the Portrait of M.V. Matyushin, composer of the opera Victory over the Sun.
Against the numbers 21-25, which ended the list of Malevich's works in the catalog, it was defiantly marked: "The content of the paintings is unknown to the author." Perhaps, among them was a painting with the modern name Composition with Mona Lisa. The birth of Suprematism from the illogical canvases of Malevich with the greatest persuasiveness appeared precisely in it. There is already everything here that in a second will become Suprematism: white space-a plane with incomprehensible depth, geometric figures of regular outlines and local coloring. Two key phrases, like the inscriptions-signals of a silent movie, come to the fore in the Composition with the Mona Lisa. Twice issued "Partial Eclipse"; a newspaper clipping with a fragment "the apartment is being transferred" is supplemented by collages with one word - "in Moscow" (the old spelling) and a mirror inverted "Petrograd". A "total eclipse" took place in his historical Black Square on a white background (1915), where the real "victory over the Sun" was carried out: it, as a natural phenomenon, was replaced, supplanted by a co-natural phenomenon, sovereign and natural - the square plane completely eclipsed, overshadowed all the images. Revelation overtook Malevich while working on the second (and never implemented) edition of the brochure Victory over the Sun. Preparing drawings in May 1915, he took the last step towards non-objectivity. The weight of this most radical turning point in his life he realized immediately and in full measure. In a letter to Matyushin, speaking about one of the sketches, the artist wrote: "This drawing will have great importance in painting. What was done unconsciously is now yielding extraordinary results. "The newborn direction remained without a name for some time, but by the end of summer a name appeared. "Suprematism" became the most famous among them. Malevich wrote the first brochure "From Cubism to Suprematism". true friend Matyushin, was distributed at the vernissage of the Last Futuristic Exhibition of Paintings "0.10" (zero-ten), which opened on December 17, 1915 in the premises of the Art Bureau of Nadezhda Dobychina.
Malevich was not entirely in vain worried about his invention. His comrades vehemently opposed declaring Suprematism the successor of Futurism and uniting under its banner. They explained their rejection by the fact that they were not yet ready to unconditionally accept a new direction. Malevich was not allowed to call his paintings "Suprematism" either in the catalog or in the exhibition, and he had to hand-paint posters with the title Suprematism of Painting literally an hour before the opening day and hang them up in person next to his works. In the "red corner" of the hall, he erected the Black Square, which overshadowed the exposition of 39 paintings. Those of them that have survived to this day have become high classics of the 20th century. The black square seems to have absorbed all the forms and all the colors of the world, reducing them to a plastic formula dominated by the poles of black (complete absence of color and light) and white (simultaneous presence of all colors and light). Emphasized simple geometric form-sign, not linked either associatively, or plastically, or ideologically with any image, object, concept that already existed in the world before it, testified to the absolute freedom of its creator. The black square marked the pure act of creation carried out by the demiurge artist. "New realism" Malevich called his art, which he considered a step in the history of the world artistic creativity. The background of Suprematist compositions is always a kind of white environment - its depth, its capacity are elusive, indefinable, but clear.
The unusual space of pictorial Suprematism, as the artist himself and many researchers of his work said, has the closest analogue to the mystical space of Russian icons, which is not subject to ordinary physical laws. But Suprematist compositions, unlike icons, do not represent anyone or anything, they - the product of free creative will - testify only to their own miracle: "Hanging a plane of pictorial color on a sheet of white canvas gives directly to our consciousness strong feeling space. It takes me to a bottomless desert, where you creatively feel the points of the universe all around you, "the painter wrote. Incorporeal geometric elements hover in a colorless, weightless cosmic dimension, representing pure speculation, manifested with your own eyes. White background Suprematist paintings, a spokesman for spatial relativity, both planes and bottomless, and in both directions, both towards the viewer and away from the viewer (the reverse perspective of the icons revealed infinity in only one direction). Invented direction - regular geometric shapes, written in pure local colors and immersed in a kind of transcendent "white abyss", where the laws of dynamics and statics dominate, - Malevich gave the name "Suprematism".
The term he composed went back to the Latin root "suprem", which formed in mother tongue artist, Polish, the word "Suprematia", which in translation meant "superiority", "supremacy", "dominance". At the first stage of the existence of a new art system With this word, Malevich sought to fix the primacy, the dominance of color over all other components of painting. The canvases of geometric abstractism presented at the exhibition 0.10 had complex, detailed names - and not only because Malevich was not allowed to call them "Suprematism". I will list some of them: Picturesque realism of a football player - Colorful masses in the fourth dimension. Picturesque realism of a boy with a knapsack - Colorful masses in the fourth dimension. Picturesque realism of a peasant woman in 2 dimensions (this was the original full name of the Red Square), Self-portrait in 2 dimensions. Lady. Colorful masses in the 4th and 2nd dimensions, Painterly realism of colorful masses in 2 dimensions. Persistent indications of spatial dimensions - two -, four-dimensional - speak of his close interest in the ideas of the "fourth dimension". Actually Suprematism was divided into three stages, three periods: "Suprematism in its historical development had three stages of black, color and white," the artist wrote in the book Suprematism. 34 drawings. The black stage also began with three forms - a square, a cross, a circle. Malevich defined the black square as "zero forms", the basic element of the world and being. The black square was the first figure, the initial element of the new "realistic" creativity.
Thus, Black Square. The Black Cross, the Black Circle were the "three pillars" on which the system of Suprematism in painting was based; their inherent metaphysical meaning in many respects surpassed their visible material embodiment. In a number of Suprematist works, black primary figures had a programmatic significance that formed the basis of a clearly built plastic system. These three paintings, which appeared no earlier than 1915, Malevich always dated 1913 - the year of staging Victory over the Sun, which served for him as the starting point in the emergence of Suprematism. At the fifth exhibition of the "Jack of Diamonds" in November 1916 in Moscow, the artist showed sixty Suprematist paintings, numbered from first to last (now it is rather difficult to restore the sequence of all sixty works both because of losses and for technical reasons, not always careful attitude in museums to the inscriptions on the backs). The Black Square was exhibited under the first number, then the Black Cross, under the third number - the Black Circle. All sixty exhibited paintings belonged to the first two stages of Suprematism. The color period also began with a square - its red color served, according to Malevich, as a sign of color in general. The last canvases of the color stage were distinguished by their multi-figure, whimsical organization, the most complex relationships of geometric elements - they seemed to be held together by an unknown powerful attraction. Suprematism reached its last stage in 1918. Malevich was a courageous artist, going to the end along the chosen path: at the third stage of Suprematism, color also left him. In the middle of 1918, canvases "white on white" appeared, where white forms seemed to melt in the bottomless whiteness. After October revolution Malevich continued his extensive activities - together with Tatlin and other left-wing artists, he held a number of posts in the official bodies of the People's Commissariat of Education. He was especially concerned about the development of the museum business in Russia; he actively participated in museum construction, developing the concepts of a new type of museum, where the works of avant-garde artists were to be presented. Such centers called "museum of pictorial culture", "museum artistic culture"were opened in both capitals and some provincial towns. In the autumn of 1918, Malevich's pedagogical work began, which later played a very important role in his theoretical work. He was listed as a master in one of the classes of the Petrograd Free Workshops, and at the end of 1918 he moved to Moscow. In the Moscow Free State Workshops, the painter-reformer invited "metalworkers and textile workers" to study - the ancestor of Suprematism began to realize the rising style-forming possibilities of his offspring. In July 1919, Malevich wrote his first major theoretical work, On New Systems in Art. The desire to publish it and the growing difficulties of life - the artist's wife was expecting a child, the family lived near Moscow in a cold, unheated house - forced him to accept an invitation to move to the provinces. In the provincial city of Vitebsk, since the beginning of 1919, the People's art school organized and directed by Marc Chagall (1887 - 1985).
A teacher at the Vitebsk school, architect and graphic artist Lazar Lissitzky (1890 - 1941), the future famous designer, convinced Malevich during a business trip to Moscow of the necessity and benefits of moving. Chagall fully supported Lissitzky's initiative and provided the newly arrived professor with a workshop at the school. The publication of the book "On New Systems in Art" was the first fruit of Kazimir Malevich's life in Vitebsk. Its publication seemed to model the subsequent relationship of the great initiator with the newly converted adherents: the text he created, concepts, ideas were framed, implemented, replicated by students and followers. The release of the theoretical work served as a kind of tuning fork for all the Vitebsk years of Malevich, dedicated to the creation of philosophical, literary works. In a letter to his long-term friend and colleague, M.V. Matyushin (1861 - 1934), sent at the beginning of 1920, the artist stated: “My book is one lecture. It is written down as I said and printed. There was a certain contradiction: at the end of the main text was the date "July 15, 1919", indicating the completion of the manuscript before arriving in Vitebsk. However, Malevich did give a lecture on November 17 in a Vitebsk auditorium; obviously, the statements are true, both about the publication of the recorded lecture, and about the finished white manuscript. The book "On New Systems in Art" became the forerunner of the subsequent "Suprematism" and is unique in every sense. First of all, its polysyllabic genre is unusual: firstly, it is a theoretical treatise; second, illustrated tutorial; thirdly, a set of prescriptions and postulates (which is Establishment A) and, finally, artistically, Malevich's book was a cycle of stitched lithographs, anticipating the easel compositions of "calligraphers" and "type designers" of the second half of the 20th century, based on the expressiveness of letter rows. The publication "On New Systems ..." technologically was a paperback brochure printed in a lithographic way (sometimes it was called a booklet). It opened and closed with texts executed by Malevich in cursive on a lithographic stone: at the beginning of the book these were epigraphs and an introduction, at the end Establishment A and two postulates placed under the image of a black square. The facsimile reproduction of the leader's own plans and attitudes acquired the meaning of a personal, personal appeal to each reader-follower. After the introduction, schematic drawings illustrating the techniques of cubist construction were placed on folding sheets; the “educational-visual” part of the brochure ended with a sketch that sketched Malevich’s shockingly abstruse painting “The Cow and the Violin”. All these drawings-schemes offered to students for assimilation were Malevich's autolithographs. The main place in the brochure was occupied by the treatise "On New Systems in Art". static and speed. Several performers - they were Lissitzky's apprentices, who entered the Artel artistic work under Vitsvomas,” transferred Malevich’s essay-lecture in block letters to lithographic stones; there were few stones, so the written fragment was replicated, the stone was polished and used for the next passage.
The performers were distinguished by different hand hardness, different dexterity, different visual acuity and different literacy: all these individual properties were forever imprinted in "cuneiform" - very narrow leading lines made the strips visually similar to archaic early Eastern writing. Sometimes a dense, slightly divided font "mirror" of the page was diversified by the introduction of decorative icons and marginals, most often geometric shape; however, the bars and circles in the lines often masked the mistakes made and noticed. The printed parts were then assembled into a single organism - this work was done by El Lissitzky; he also made the cover using the linocut technique. One sheet with an integral composition formed the front and back sides when folded; it is curious that in the position: nii turn the composition was "read" from right to left - its significant elements were arranged in that order. The cover was cut last, the author and the designer found it necessary to put the names of all parts on it - the front side of the book thus played an additional role of a “table of contents”. The outer epigraph drew attention to itself: "The overthrow of the old world will be drawn on your palms."
Placed at the top on the most significant, striking place of the cover, anticipating the name and surname of the author, he made the whole book a “text”, opening it. The abundance of information, necessary and secondary, gave the outward appearance of the brochure, as it seemed at first glance, an unprofessional, amateurish character - however, as El Lissitzky's idea was comprehended, it became clear that he needed an abundance of words: the cover of "On New Systems ..." with its dynamics, moving sharp letter compositions foreshadowed constructivist methods of book design. It is especially necessary to highlight the abundance of textual information on the cover - this technique will become widespread in the art of the book much, much later. Malevich's book was a set of fundamental arguments, theses, statements proposed by the leader to new adherents for study and assimilation. The texts inscribed on stone, especially Malevich's handwritten commandments, acquired the rank of some tablets of the "new artistic testament". The main visual hero of the book is Black Square, reproduced four times; the frequency of its use testified to the emergence of a new function of the main Suprematist form - the black square turned into an emblem. The development of the black square into an emblematic sign must be specially highlighted, as well as the persistent repetition of the slogan "The overthrow of the old world will be drawn on your palms" - this slogan soon acquired the meaning of a motto for members of UNOVIS. An equally remarkable role was played by the line of Malevich's sound-abstruse poem, placed inside before the first epigraph:
"I'm going
U - el - el - st - el - te - ka
My new path.
The leader's poem became, as we will see below, a kind of anthem for Malevich's supporters in Vitebsk. There were still months before the self-determination of UNOVIS, the “new party in art,” as Malevich sometimes called it, but the accumulation of its constituent elements, the formation of its framework, had already begun. Malevich, correcting the first page of the book at the request of Lissitzky, made a significant inscription: “I greet you Lazar Markovich with the release of this booklet, it will follow my path and the beginning of our collective movement, I expect from you clothing structures for those who follow innovators. But build them in such a way: so that they cannot sit up in them for a long time, do not have time to start a petty-bourgeois hustle, do not become obese in its beauty. K. Malevich December 4, 19 Vitebsk. The book "On New Systems in Art" was published in a huge circulation for those times - 1000 copies, and was printed in a handicraft, in fact, way. Concerned about the distribution of the book, Malevich sent a letter to O.K. Gromozova, wife of M.V. Matyushina: “Dear Olga Konstantinovna! My friends published a book "On New Systems in Art", 1,000 copies. lithographically with drawings. It is necessary to distribute it, so we turn to friends so that it falls into the proper hands, we give 200-300 copies to Petrograd, the rest is Moscow-Vitebsk; price 40 rub. We trust the giver of this, Elena Arkadyevna Kabischer, to make money for the book, if it succeeds. We will brochure the book and send it out immediately. Maybe you will leave one shelf for its distribution. I firmly shake your hand. Hi to all my friends, and kiss Misha (Matyushin). K. Malevich. Petrograd, Stremyannaya, not far from the Nikolaevsky railway station, warehouse-commune. Olga Konstantinovna Gromozova warehouse."
The ideas developed in the first Vitebsk book were very dear to Malevich, and therefore, when the opportunity presented itself, he replicated them in another edition. In 1920, the Fine Arts Department of the People's Commissariat for Education in Petrograd published Malevich's book From Cezanne to Suprematism. Critical Essay". The text of the publication consisted of several large fragments of the Vitebsk brochure "From Cezanne to Suprematism", assembled into an independent book. Malevich himself was clearly aware of the onset of a new stage in his biography, the displacement of painting by purely speculative creativity. In a letter to M.O. Gershenzon, sent on November 7, 1919, in the first days after moving from Moscow, he stated: “... all my energy can go to writing pamphlets, now I’ll work diligently in Vitebsk “exile” - my brushes are moving further and further away.” The aspirations of the initiator into theoretical empyreans paradoxically matched with the expansion of Suprematism into real life, into the "utilitarian world of things." And although at the beginning of this year, in 1919, Malevich called on “comrades of metalworkers and comrades of textile workers” to his Moscow workshop, it was only after moving to Vitebsk that he clearly saw the horizons of practical application that opened up before the system he invented in art. The possibility of introducing Suprematism into reality presented itself immediately. In December 1919, the Vitebsk Committee for Combating Unemployment celebrated its two-year anniversary. The committee was the brainchild of the February bourgeois revolution, although it officially opened a week after the transfer of power to the Bolsheviks. It must be said that the October Revolution somehow went unnoticed in Vitebsk: only in one local newspaper, on the second page, in a tiny chronicle note, the events in Petrograd were announced in a patter. We designed the anniversary of the Cabinet in a bright Suprematist way.
A picture taken at the Vitebsk railway station on Saturday, June 5, 1920, has become one of the most famous photographs of the era. It was accidentally preserved by Lev Yudin and his family. Life, as you know, is sometimes more inventive than the most sophisticated novelist - here she acted as the most insightful artist, creating an unusually expressive portrait of the "Unovis team" on the eve of his finest hour. The photograph was dated according to a note from the Vitebsk newspaper Izvestia dated June 6, 1920: “Artistic excursion. Yesterday, an excursion of 60 students from the Vitebsk Folk Art School, led by their leaders, left for Moscow. The tour will take part in an art conference in Moscow, as well as visit all the museums and see the artistic sights of the capital.” The freight car, in which the Vitebsk people went to Moscow, was decorated according to the project of Suetin - it was decorated with the Black Square, the emblem of Unovis. On the project, under the square, there was the slogan "Long live Unovis!" - in nature, it was replaced by a long banner; according to the fragment visible in the picture, the inscription was restored: “A group of sightseers of the Vitebsk state free art workshops, participants in the All-Russian Conference art schools". The photographer filmed the scene of the departure from the carriage, which was standing nearby on the tracks, and a continuous “panel” of heads and figures, spread out vertically, something akin to a tiered fresco composition, impeccably centered by the Suprematist tondo in the hands of Malevich. His figure, surrounded by a garland of disciples and followers, seemed to ascend in a "mandorla" from their heads (a striking interpretation of the iconography of the Savior in power in a documentary photograph). The imperiously pointing movement of the UNOVIS leader, by its premeditation, staged, also transformed the snapshot into the rank of a historical document - however, the soft touch of Natalia Ivanova, trustingly leaning on Malevich's hand, somehow tamed the authoritarian unambiguity of the gesture. The psychological orchestration of the group portrait is also striking - a gamut of heterogeneous feelings was drawn on the faces of the UNOVIS members who were going to conquer Moscow. Harshly inspired dark-faced Malevich; warlike, disheveled Lazar Khidekel; sad, distant Lazar Zuperman; cheerful, business-like Ivan Gavris (it seems that under his arm he has the Unovis almanac) - and only the indestructible cheerfulness of Vera Ermolaeva and the naive little apprentice, who looked out from under the leader’s hand, brightened the strained seriousness of Unovis with a smile. In the picture, in addition to Malevich, all the leaders of the United Painting Audience are captured: Nina Kogan, Lazar Lissitzky, Vera Ermolaeva; apprentices of the school - Moses Veksler, Moses Kunin, Lazar Khidekel, Yakov Abarbanel, Ivan Gavris, Iosif Baitin, Efim Royak, Ilya Chashnik, Ephraim Volkhonsky, Fanya Belostotskaya, Natalya Ivanova, Lev Yudin, Khaim Zeldin, Evgenia Magaril, Lev Tsiperson, Isaac Beskin; The names of the rest have not yet been established. Lissitzky and Baitin, leaning on the shoulders of Gavris, have the UNOVIS emblem attached to the cuff of their sleeves; Veksler in the front row and Zeldin in the back of the carriage have a black square pinned on their chests. The round-shaped "suprema" (the word of the Unovists) in the hands of Malevich is not a dish, as it might seem at first glance. Its author, obviously, was Chashnik, who was distinguished by inexhaustible inventiveness and the ability to introduce Suprematist principles into other than easel painting, types of art (this was something akin to the similar skill of Nina Kogan, who came up with either a Suprematist ballet or a Suprematist mobile). The white disk with geometric appliqué elements superimposed on it was taken into a freshly painted concave frame (Malevich had a pad under his palm so as not to erase the paint). Tondo was undoubtedly one of the exhibits of the exhibition that Unovis was taking to Moscow; its round shape in the photograph of 1920 is an extremely important evidence of the unexpected plastic experiments of the UNOVIS in the very early stages of the group's existence. Here it would be appropriate to say that Chashnik, who was well versed in the craft skills of working with metal, was famous at school for original compositions known to us only from verbal descriptions: they were a "picture" with planar geometric elements, reinforced with metal pins at different heights from the surface - a kind of layered spatial-planar composition was obtained. This plastic idea, dating back to Malevich's Suprematism, many, many years after Chashnik's death, will be expressed in his own way by the famous Swiss artist Jean Tengueli in the reliefs of the 1950s under the name Meta-Malevich... Having arrived in Vitebsk at the very beginning of November 1919, Malevich did not imagine that he would stay here for a long time. The birth of Unovis changed his plans - the upbringing of fellow believers now came to the fore. In letters to David Shterenberg, head of the Fine Arts Department of the Narkompros, Malevich explained: “I live in Vitebsk not for the sake of better nutrition, but for the sake of working in the province, where Moscow luminaries are not particularly willing to go to give an answer to the demanding generation.” At the beginning of January 1921, this provision was developed in an extensive letter to the same addressee: “Having left Moscow for the mountains. I left Vitebsk to benefit from all my knowledge and experience. Vitebsk workshops not only did not freeze like other cities in the province, but took on a progressive form of development, despite the most difficult conditions, everyone together overcome obstacles go further and further along the road new science painting, I work all day, as can be confirmed by all the apprentices in the amount of one hundred people. The Vitebsk apprentices were not the first group of supporters to form around Malevich; Since the invention of Suprematism, circles of followers have constantly formed around the leader. However, it was in Vitebsk that Malevich's organizational and artistic-mentoring activities, based on the foundation laid in Petrograd and Moscow, acquired stable, developed forms. Malevich arrived in Vitebsk the day before important event in his life, the first monographic exhibition. It was prepared as part of state exhibitions organized in the early Soviet years by the All-Russian Central Exhibition Bureau of the People's Commissariat for Education. Malevich's paintings have already been taken to the former salon of K. Mikhailova on Bolshaya Dmitrovka, 11.
Indirect evidence suggests that the exposition was already thought out by the author. On November 7, 1919, he wrote to M.O. Gershenzon about the opening of the exhibition as a matter already decided: “By the way, my exhibition must open in a week on Bolshaya Dmitrovka, Mikhailova’s salon, Stoleshnikov’s corner, stop by; all things could not be collected, but there is impressionism and beyond. I would like to know your opinion about it." Researchers long years it was not known where the Malevich exhibition eventually took place (in some sources, the Moscow Museum of Artistic Culture was indicated); There were disagreements about the time of its opening. An invitation card to the vernissage, preserved in the archive of N.I. Khardzhiev, unambiguously determines the time and place of Malevich's first solo exhibition: it was opened on March 25, 1920 in the former salon of Mikhailova, Bolshaya Dmitrovka, 11. The exhibition, registered as the XVI State Exhibition of the All-Russian Central Exhibition Center, is usually called “Kazimir Malevich. His path from impressionism to suprematism. To date, no accurate documentary evidence of her has been found; there was no catalog for the exhibition, although 153 works are known to have been presented. From the first exhibition of Malevich there were photographs of the exposition; unfortunately, the impressionist works were not included in the lens. Of the two reviews by A.M. Efros and A.A. Sidorov, only general ideas can be gleaned. Apparently, the paintings remained in the exhibition halls at the beginning of June 1920, when Malevich, together with the apprentices of the school, came to the All-Russian Conference of Students and Students of Art (the next exhibition of the VTsVB was organized only in the summer-autumn of 1920 and its location was not indicated in the sources. The apprentice of the Vitebsk school M.M. Lerman in conversations more than once returned to Malevich’s monographic exhibition, which he brought to him because of the importance of these testimonies, we will cite them in the form in which they were recorded at the time: "We had two cars; I was in 1919 or 1920 (it was summer) and 1921 on excursions in Moscow, we lived on Sadovo-Spasskaya, in some kind of hostel. The first excursion was very interesting, we were at the exhibition of Malevich. Enfilade of halls - Cezanne's works, cubism, cubo-futurism , color Suprematism, black and white Suprematism, a black square on a white background and a white square on a white background, and in the last room there are empty white stretchers ";" When we arrived on an excursion to Moscow, we were starving ... At the exhibition, one shouted: "Peace be to your ashes, Kazimir""; “The exhibition began in 1920 with Cezanne's works - the workers dragged heavy bags (“Cezanne has everything heavy,” said Malevich, “an iron apple”). In the beginning there were impressionistic things. Cubism, cubo-futurism, works of a "Deren" nature. Colored suprematism, a black square, and then empty stretchers walked, they laughed at it. "Peace be upon your ashes, Kazimir Malevich," someone shouted from the podium. I wore a black square, one approached me and asked: "Are you studying with Malevich?" It was, it seems, Mayakovsky”; “The first floor is a suite of rooms, an exhibition of Malevich. Malevich joked, Conspired that the “end of art” had come>. The facts reported by Lerman are verifiable; information about two excursions - summer and winter - coincides with documentary evidence of Unovis' trips to Moscow in the 1920 summer (June) and 1921 winter (December). The works with workers dragging sacks mentioned by the narrator correlate with the plots of large gouaches by Malevich The Man with the Sack (1911, Stedelijk Museum, Amsterdam) and Carrying the Earth (1911, private collection abroad). Deserves trust and a message about a meeting with Mayakovsky; Mayakovsky, as already mentioned, spoke from the rostrum of the All-Russian Conference on June 8, on the day when Malevich and the UNOVIS members appeared there. Almost all Vitebsk sightseers for the first time in their lives visited the Tretyakov Gallery, the collection of I.A. Morozov and S.I. Schukin; accompanied them, giving explanations, Malevich himself. Sixteen-year-old Semyon Bychenok and Samuil Vikhansky, students of Pan's class at the People's School, were shocked to tears by the negative attitude of the stern Suprematist towards Repin, whom he proposed to "throw off the ship of modernity." These young men, however, Malevich did not convince, they forever remained faithful to Pan and realism. Returning to the artistic concept of Malevich's first solo exhibition, it should be said that its boldness and novelty passed the attention of contemporaries. The exit to the "white desert" for Malevich was the logical conclusion of the picturesque path; in December 1920, the lines appeared: “There can be no question of painting in Suprematism; painting has long been outlived and the artist himself is a prejudice of the past.” Painting really left the artist for many years - to return in a completely different guise in difficult times for him. Empty canvases - the screen on which each viewer could project their creative potential - appeared in world art decades after Malevich's death; his priority in the field of conceptual creativity turned out to be firmly forgotten, unclaimed, unknown. Some evidence suggests that during the last public performance of Unovis, which took place as part of the “Exhibition of Paintings by Petrograd Artists of All Trends. 1918-1923”, the same exposition concept was repeated - an empty canvas was present in the collective exhibit of the Approvers of the New Art. Occupying the official position of the head of the workshop of the People's Art School, Malevich proposed as a basis a program developed for the Moscow State Art Museum. As already mentioned, the completeness and capacity of Malevich's program could ensure the activity of not one class, but the whole educational institution. This is what happened in Vitebsk - Malevich's plan, having become the basis for the program of the Unovis Unified Painting Audience, was implemented with the help of a "group of senior cubists", which included Lissitzky, Ermolaeva and Kogan. The teaching style of Malevich himself in Vitebsk acquired a completely different character compared to Moscow. Starting from the first days of the rallies, the center of gravity shifted to unusual art education verbal forms: lectures, reports and interviews became the main genre in the communication of the mentor with the students. In the archives of the Vitebsk school, documents have been preserved that recorded the extraordinary intensity of Malevich's lecture activity: the payroll for many hours of lectures appeared in the statements. Brief notes Vitebsk diaries of L.A. are full of reports and interviews of Malevich with UNOVIS people. Yudin; messages about Malevich's speeches were placed in the press, posters were specially created for them. A visual representation of the atmosphere and the nature of these quite academic studies can be obtained from the famous photograph of Unovis, dated to the autumn of 1921: Malevich, taking his usual place at the blackboard, draws an explanatory diagram with chalk.
The topics of the reports were closely related to that gigantic work of a theoretical nature that absorbed almost all the time of the great artist in Vitebsk. The path "from cubism to suprematism" was promoted by Malevich both as a path for individual development and as a path for the development of all art as a whole. In Vitebsk, the artist began to be interested in how the transition from one stage to another, from one painting system to another, is made. Examining the work of apprentices at interviews, performed to solve educational and artistic problems, the mentor tried to identify and explain the motives for this or “painting doing” (such an analysis was very soon called “diagnosing”). In the National School, Malevich received a lot of space for the implementation of the research inclinations of his intellect. The analysis of the work of an individual creative person, the analysis of an integral direction, was based on putting forward a hypothesis, setting up experiments, reconciling the predicted results and experimental data. Using the old canons of science, Malevich gave the humanitarian sphere the character of a sphere of natural science. Both the mentor himself and his followers often resorted to consolidating their observations in graphs, charts, tables, widely using peculiar statistical methods of accumulation. primary material for theoretical and practical conclusions. The scientific visualization of artistic experiments and experiments was supposed to help reveal the objective laws of the formation of art - such a mindset dominated the aspirations of Unovis in Vitebsk, the Bauhaus in Weimar, Vkhutemas and Inkhuk in Moscow. Malevich, a spontaneous systematist, having streamlined his observations and conclusions, put forward a hypothesis, which then grew into an original theory, the substantiation and proof of which were devoted to the years of life of both the initiator himself and his Vitebsk adherents. Outlining the foundations of the “theory of the surplus element in painting”, Malevich specifically emphasized the decisive significance of the Vitebsk years: “It must be said that the period of revolutionary times passed under an unprecedented passion and desire of young people for new art, reaching incredible strength in 1919. It seemed to me that at that time a huge part of young people lived in the subconscious, feeling, inexplicable rise to a new problem, freeing themselves from all the past. The opportunity opened up before me to carry out all sorts of experiments to study the effect of surplus elements on pictorial acceptances. nervous system subjects. For this analysis, I began to adapt the Institute organized in Vitebsk, which made it possible to carry out work in full swing. ” According to Malevich’s theory, the movement from one pictorial trend to another was due to the introduction of specific pathogens, peculiar artistic genes that rebuilt the appearance and image of the “painting body”. In Vitebsk, at an early stage of the formation of the theory, Malevich more readily used the word "additives", which then transformed into "surpluses", into "surplus element" - one cannot but see in this definition a certain influence of the popular term of Marxist-Leninist political economy. The People's Art School (Vitebsk State Artistic and Technical Workshops) was transformed into the Vitebsk Artistic and Practical Institute in 1921 - its work laid the foundations for scientific and artistic activity in registering, identifying, describing the primary elements that made up the "painting body" of one or another direction. The purpose of these experiments was subsequently outlined by Malevich: “So, for example, you can collect typical elements of impressionism, expressionism, Cezannism, cubism, constructivism, futurism, suprematism (constructivism is the moment the system was formed), and make several cartograms from this, find in them a whole system of development of straight lines and curves, find the laws of linear and color structures, determine the influence on their development of social life of modern and past eras and determine their pure culture, establish textural, structural and other differences." As a result of carefully conducted scientific work, a surplus element of one direction or another had to be singled out - Cezannism, according to Malevich, was built on the basis of a “fiber-shaped surplus element”, cubism - a “crescent” one; the surplus element of Suprematism turned out to be a direct, most economical form, a trace of a moving point in space. Graphically significant surplus elements were linked to a certain color range in each direction.
The theoretical understanding of practical experiments, initiated by Malevich, gradually turned into a rule, a law for the most talented of his students in Vitebsk: the creation of a theoretical treatise was a prerequisite for obtaining a diploma from the Artistic and Practical Institute. The Scheme for the Construction of the Vitebsk State Artistic and Technical Workshops, developed and drawn by Chashnik, formulated the goal of education: the emergence of a “complete learned builder”. In full measure, laboratory research on the isolation of the “surplus element in painting” was launched by Malevich and members of the Vitebsk Unovis after they moved to Petrograd, becoming central to the experimental activities of Ginkhuk. The first assistants of Malevich, even to some extent his co-authors, since Vitebsk times were Ermolaeva and Yudin, who became assistants in the formal theoretical department. It should also be noted that the treatise Introduction to the theory of the surplus element in painting largely described the Vitebsk experiments carried out on “individuals amazed by painting”; it is no coincidence that Malevich dated the treatise to 1923, as if summing up the scientific, artistic and pedagogical experience his life in Vitebsk. The Vitebsk years were also fruitful for the artist in terms of publishing theoretical works: between the first book, On New Systems in Art, and the last, “God Will Not Be Thrown Away,” were placed “From Cezanne to Suprematism” (Pg., 1920); "Suprematism. 34 drawings” (Vitebsk, 1920); "On the issue of fine arts" (Smolensk, 1921). In addition, treatises On the "I" and the collective, Towards pure action, manifestos Unom and the Declaration were published - all in the Almanac "Unovis No. 1", as well as the article "Unovis" in the Vitebsk magazine "Art" (1921, No. 1). Almost all the texts were tested by Malevich in oral transmission - they formed the basis of his lectures and speeches. Pronunciation, articulation of one's constant thoughts - an explanation to oneself and to the listeners of the meaning of the Black Square, the meaning of pointlessness, their ever deeper interpretation maintained close communicative ties between the leader and followers, the generator of ideas and adherents. The readings of the artist-philosopher were not easy food for listeners; on the contrary, they were a difficult test for the most advanced of them, who often felt their insufficiency, inability to follow the mentor. However - and this paradoxical effect is well known in psychology - the distance that the students felt between themselves and the teacher only convinced them of the special greatness of Malevich, surrounded him with a certain aura of the supernatural - their faith in the mentor was boundless, and it was excited by the exceptional spiritual talent of the ancestor of Suprematism, the bearer of charisma. Lev Yudin, one of the most devoted students, wrote down on February 12, 1922 (I note, a week before the end of the manuscript Mir as non-objective): “Yesterday there was a lecture. Continuation of the picturesque essence. A lot of things are becoming clearer to me. - How hard K.S. (Kazimir Severinovich) is. When our people begin to whimper and complain about the high cost, it really begins to seem that the light is ending. K.S. comes and you immediately find yourself in a different atmosphere. He creates a different atmosphere around him. This is truly a leader." The public acts of thinking demonstrated by Malevich played an exciting, provoking role, and the high intensity of the epicenter inevitably raised the temperature of the environment, contributing to the rapid maturation of the most talented UNOVIS members: “15. II. 22. Wednesday. K.S. again got down to business and raised the group on its hind legs. Lectures go remarkably well and create a lot in the mind ”(Yudin’s diary). Somewhat apart from the Vitebsk pamphlets and articles stood the book Suprematism. 34 drawings, published at the very end of 1920. She was the last fruit of the technical cooperation between Malevich and El Lissitzky, who soon left the city. The book was drawn and written, as the author emphasized, in response to the request of the students. Therefore, first of all, the brochure-album represented de visu a wide range of Suprematist iconography, that is, it was a kind of exhibition of Malevich's Suprematist art. In this capacity, the book was the subject of discussion and reflection among the UNOVIS people; Yudin, for example, noted in his diary entries, evaluating the composition he had born: “December 31, 21 Saturday. Do not be embarrassed by what (drawing) K.S. has. After all, he, after all, has everything of ours.” In one of his Suprematist compositions, Chashnik used as a collage inclusion a Malevichev illustration from the Vitebsk edition. The concept of the album repeated to a certain extent the exhibition concept of Malevich, carried out in December 1916 at the last exhibition of the "Jack of Diamonds": the artist showed 60 Suprematist paintings, numbered from the first - Black Square to the last (they, obviously, were Supremus No. 56, Supremus No. 57, Supremus No. 58). Appeal to time, temporal dynamics as a necessary condition for Suprematist transformations served as an essential characteristic of a new trend in art. A well-thought-out alternation of Suprematist images, collected under one cover, consistently deployed plastic changes in geometric elements in the space-time continuum. The undoubted interconnections of the previous illustration with the subsequent one revealed the desire of Malevich to master the real movement, real time- its creator subsequently tried to realize these potentialities of Suprematism in the language of cinema. In May 1927, while in Berlin, he asked to be introduced to Hans Richter, the initiator and founder of abstract cinema. In the 1950s, a script was discovered in Malevich's papers left with the von Rizens, marked "for Hans Richter." The script, called "Artistic and scientific film "Painting and problems of architectural approximation of the new classical architectural system", presented "frames" of abstract compositions with explanations, linked by semantic and dynamic unity. This scenario, undoubtedly, had a distant prototype in the first "cropped tape" of the book "Suprematism. 34 drawings”, assembled from Suprematist scenes and ending with two “close-ups”, large lithographs, significantly larger than all other illustrations. Malevich’s text, which served as an introduction to the album “Suprematism. 34 drawings”, stunned by the concentration of thought, the unusualness of the outlined projects, the unshakable faith in the Suprematist penetration into the world. “The Suprematist apparatus, so to speak, will be one whole, without any bonds. The bar is merged with all the elements like the globe - carrying the life of perfections, so that each constructed Suprematist body will be included in the natural organization and will form a new satellite. The Earth and the Moon, but between them a new Suprematist satellite can be built, equipped with all the elements, which will move in orbit, forming a new path. Exploring the Suprematist form in motion, we come to the conclusion that the movement in a straight line to any planet cannot be defeated otherwise than through the ring-shaped movement of intermediate Suprematist satellites, which form a straight line of rings from satellite to satellite. Gershenzon - even today it seems incredible, fantastic - perhaps the future will prove the validity of her fundamentally new approach to the technical implementation of the conquest outer space . Nevertheless, Malevich's ideas were a direct product of their time, their environment. Futurological fantasies about breaking away from the earth, about entering the Universe, were firmly established in the worldview of European futurists, Russian Budutlyans and Cubo-Futurists. Back in 1917-1918, Malevich drew “shadow drawings,” as Velimir Khlebnikov called these graphic studies, striking with visionary foresight of images that turned out to be available only after mankind’s orbital voyages. On Russian soil, cosmic dreams were supported by philosophical theories, in particular, the philosophy of the Common Cause by N.F. Fedorov with his prognostic concepts of human settlement on other planets and stars. Fedorov's ideas inspired the great engineer K.E. Tsiolkovsky, who managed to translate utopian projects into a practical dimension, into the realm of reality. Perhaps the people of Vitebsk had a special predisposition to new impulses coming from the universe; otherwise it is difficult to explain, for example, the appearance in May 1919 of the enormous work of G.Ya. Yudin (it was he who argued with Ivan Puni, smashing futurism to smithereens). A fourteen-year-old teenager who was preparing for a musical career wrote an article Interplanetary Travel, which occupied two basements in two issues of the Vitebsk student newspaper. In the final paragraph, the young author confidently made a bold - let me remind you, it was May 1919 - conclusion: “We must hope that the twentieth century will give a decisive impetus to the progress of technology in this area and we will thus be witnesses of the first interplanetary journey.” The printing of the newspaper was poor, and therefore an apology was added to the article: “From the editorial board. Due to technical circumstances, the editors are deprived of the opportunity to place the details given by the author in the description of individual projects and, in particular, a schematic description of the "Rocket" by K.E. Tsiolkovsky. G.Ya. Yudin - fate took him a long century, and he witnessed Gagarin's flight and the American landing on the moon - in conversations with the author in the late 1980s, he said that the published article was only a fragment of a large work devoted to Tsiolkovsky's invention; the Vitebsk publication was one of the first to promote the great projects of the provincial Russian genius. Such were the future musicians in Vitebsk - the affirmers of the new art, inspired by Malevich himself, all the more could not but respond to the rhythms of the Universe. ... From unknown distances, two squares fell to the Earth, red and black, in the Suprematist tale about 2 squares, conceived and “built” for N. F. Fedorov with his prognostic concepts of human settlement on other planets and stars. Fedorov's ideas inspired the great engineer K.E. Tsiolkovsky, who managed to translate utopian projects into a practical dimension, into the realm of reality.
Childhood, adolescence and youth.
Entry into the avant-garde environmentKazimir Severinovich Malevich was born on February 11 (23), 1878 in a house on the outskirts of provincial Kyiv. Until the age of eleven, it never occurred to a village child that there were magic items- pencil, charcoal and paper, not to mention paints and brushes. From the memoirs of Malevich, it follows with immutability that the future founder of geometric non-objectivity was passionately in love with surrounding nature. From the age of 15, Malevich did not part with the brush, at the age of seventeen he happened to spend some time at the Kyiv drawing school of N.I. Marushko.
In 1896 the Malevich family settled in Kursk; the future artist was closely associated with this provincial town for more than ten years. Malevich called the unknown amateur painter Lev Kvachevsky his closest Kursk friend. Together with like-minded people, Malevich managed to organize an art circle in Kursk. Imitating real schools, enthusiasts painted from plaster, but their favorite pastime was working with nature.
Malevich's period of early impressionism culminated in several canvases, in which the reproduction of a natural landscape view is inextricably merged with the desire (perhaps not yet sufficiently conscious, but nevertheless obvious) to create a precious pictorial texture with the help of paint, vibrating with color nuances. Such is lovingly woven from short energetic strokes spring landscape, amazing but the subtleties of complementary color combinations. Painting Church strikes with the heavy workload of the canvas with bleached paints with an unusually high relief of the pigment layer. However, among the works of an amateur painter, there are several works that are completely different in character and execution: we are talking about boulevard, several Flower girls, Girls without service, On the boulevard.
cubofuturismGouache at the turn of the decade - Female portrait, two Self-portrait, Man in a pointed hat, Still life, - energetic, expressive, with an elastic contour stroke and powerful color modeling of flattened volumes, the incredible power of color speaks of the emergence of new qualities in the painting of a young artist, its colorful intensity seems to deform the drawing and composition with their brutal pressure. Not only from the point of view of academic canons, but also from the point of view of common sense, there cannot be such anatomical anomalies in human figures as are observed in bather or Floor polishers. However, Malevich tensely and with difficulty groped for the truth, which he would later consider to be the only true one: a picture should be an independent organism that develops and builds according to its own laws - these laws are dictated by purely pictorial means, primarily by color. The French Fauvists served as guiding landmarks on this path (<дакие”), прозванные так за пронзительную мощь цвета.
THE BIRTH OF SUPREMATISMPainting Grinder (Principle of flickering)(The Art Gallery of Yale University), painted by Malevich in 1912, in the perspective of time has become a classic canvas of Russian cubo-futurism. The auxiliary title best spoke of what the author was trying to achieve. And, indeed, in the joyful repetition of countless crushing contours and silhouettes, in the steel gray-blue color, contrastingly shaded with “rusty” spots of color, one can almost physically feel the “flickering principle” of a rhythmically sharpened knife, which at an elusive fraction of time finds itself at different points in space.
At the exhibition of the Union of Youth, which opened in November 1913 in St. Petersburg, he combined the presented works into two groups: abstruse realism And Cubo-futuristic realism. The division was quite arbitrary: the first group included not only the paintings of the first peasant series Peasant woman with buckets, Morning after a blizzard in the village, but also textbook cubo-futuristic Grinder, Improved portrait of Ivan Vasilyevich Klyunkov(so in the catalog!) and others. In the second - Kerosene stove, Wall clock, Lamp, Portrait of a landowner, Samovar. The word "realism" in conjunction with qualifying adjectives meant that Malevich saw his goal in a breakthrough to a reality that lay beyond the limits of objective illusoryness.
With the onset XX centuries in art, grandiose processes of the birth of a new era, equal in importance to the Renaissance, took place with increasing intensity. Then there was a revolutionary discovery of reality.
The birth of Suprematism from the illogical canvases of Malevich came through most convincingly in Mona Lisa. There is already everything here that in a second will become Suprematism: white space-a plane with incomprehensible depth, geometric figures of regular outlines and local coloring.
"Total Eclipse" occurred in its historical Black square on a white background(1915), where the real “victory over the Sun” was carried out: it, as a natural phenomenon, was replaced, supplanted by a co-natural phenomenon, sovereign and natural - the square plane completely eclipsed, overshadowed all the images. The newborn direction remained without a name for some time, but by the end of the summer the name appeared. “Suprematism” became the most famous among them.
The black square seems to have absorbed all the forms and all the colors of the world, reducing them to a plastic formula dominated by the poles of black (complete absence of color and light) and white (simultaneous presence of all colors and light). Emphasized simple geometric form-sign, not linked either associatively, or plastically, or ideologically with any image, object, concept that already existed in the world before it, testified to the absolute freedom of its creator. Black square marked the pure act of creation carried out by the demiurge artist.
An incurable disease opened in the fall of 1933. Anticipating an untimely departure, Malevich bequeathed to bury himself near Nemchinovka near the oak, under which he loved to rest.
In May 1935, a funeral procession followed along Nevsky Prospekt: on the open platform of a truck with black square a Suprematist sarcophagus was installed on the hood. The procession was heading towards the Moscow railway station; the coffin with the body was transported to Moscow, and after cremation the urn with the ashes was buried in a field under an oak tree.
A monument designed by Nikolai Suetin was erected over the burial - a cube with Black square. During the war, the grave of Kazimir Malevich was lost. The memorial sign was restored at the edge of the forest bordering the field in 1988.
Used Books:
Shatskikh A.S Sh29 Kazimir Malevich M.: Slovo, 1996 - 96p.
Answer: Explain to the fool, what is the masterpiece of Malevich's "Black Square"?To the previous post Sonya Kyroneko remembered a good quote:
______________________________
- What is this?This is a Russian conceptual icon of the turn of the century,” Kawabata said. - The work of David Burliuk. Have you heard about this?
Heard something.
He, oddly enough, is not very famous in Russia, - said Kawabata. - But it is not important. Just take a look!
Serdyuk looked at the sheet again. The letters were cut with white lines, apparently left over from the strips of paper holding the stencil together. The word was typed roughly, and there were patches of ink around it, all together strangely resembling a bootprint.
Serdyuk caught Kawabata's eye and said something along the lines of "Yes-aah."
How many meanings are here, - continued Kawabata. - Wait, be quiet - I will try to say what I see myself, and if I miss something, you will add. Fine?
Serdyuk nodded.
First, Kawabata said, the very fact that the word "God" is printed through a stencil. That is how it enters the consciousness of a person in childhood - like a stencil print, the same as in a myriad of other minds. And here a lot depends on the surface on which it rests - if the paper is uneven and rough, then the print on it will be fuzzy, and if there are already some other words, it’s not even clear what exactly will remain on the paper in the end. That is why they say that God is different for everyone. Also, look at the magnificent roughness of these letters - their corners just scratch the eye. It is hard to believe that anyone could think that this three-letter word is the source of eternal love and mercy, the reflection of which makes life in this world somewhat possible. But, on the other hand, this imprint, most of all similar to the brand used to mark cattle, is the only thing that a person can rely on in life. Do you agree?
Yes, said Serdyuk.
But if everything were limited to just this, then there would be nothing particularly outstanding in the work that you hold in your hands - the whole spectrum of these ideas can be found at any atheistic lecture in the country club. But there is one small detail here that makes this icon really brilliant, which puts it - I'm not afraid of these words - above Rublev's Trinity. Of course, you understand what I'm talking about, but please let me express it myself.
Kawabata paused solemnly.
Of course, I mean the strips of emptiness left over from the stencil. It would not have been difficult to paint over them, but then this work would not be what it is now. Exactly. A person begins to look at this word, passes from the appearance of meaning to a visible form and suddenly notices voids that are not filled with anything - and there, in this nowhere, one can only find what these huge ugly letters are trying to point to, because the word "God" points to what cannot be pointed to. This is almost according to Eckhart, or ... However, it does not matter. Many people have tried to put it into words. At least Lao Tzu. Remember - about the wheel and the spokes? Or about a vessel whose value is determined only by its inner emptiness? And if I say that any word is the same vessel and everything depends on how much emptiness it can contain? Are you going to argue?
No, - said Serdyuk.
____________________________-"Chapaev and Emptiness"
Sorokina Daria Sergeevna
My work is called "The Mystery of the Black Square". I chose this topic because today I would like to once again comprehend those changes in the fine arts that took place at the beginning of the 20th century and are associated with the name of K. Malevich and the unchanging and unsolved symbol of the century, the artist's Black Square.
The purpose of the work is to determine the reasons for the mystery, the uniqueness of the "Black Square".
To achieve the goal, I first found out the features of Malevich's Suprematism, a new direction created by the artist, where geometric figures of bright colors are immersed in a formal "white abyss". Vivid examples of such works are the paintings "Red Square", "Black Circle", and, of course, the famous "Black Square". Malevich took a step that no one in the world of painting before him could have dared to do - a complete rejection of figurativeness, even of those of its fragmented and shuffled elements that were preserved in the extreme currents of that time - cubism and futurism.
Thus, I found out that Malevich is an innovator who developed such a pictorial technique that has become decisive in modern architecture and design. After the impressionistic luminous dispersion of the world, the artist called for a deeper and more complete, and not just visual perception of all the richness of the surrounding material world. Suprematism had a huge impact not only on painting, but also on architecture and applied arts.
Next, I tried to determine the uniqueness of the Black Square. Having turned to books about art and painting, Internet sites dedicated to the work of Kazimir Malevich, having read the works of critics containing an assessment of this picture, and also having carried out my own research, I came to another conclusion: “The Black Square” is a masterpiece that has its own secret as a symbol of ambiguity and infinity. Malevich's painting suggests just an infinite number of interpretations. The Black Square is unique, but not because it is beautiful or not beautiful, realistic or not realistic, understandable or incomprehensible. But because he became a symbol of “verbose laconicism”, the triumph of the human mind and the skill of Malevich, the artist who spoke about the universe in one word, embracing art in one black square on a white canvas. Many researchers have tried to unravel the mystery of the Black Square. The conclusions they reached are enormous. It is closer and clearer to me that the black square seems to have absorbed all the forms and all the colors of the world, reducing them to a plastic formula dominated by the polarity of black (complete absence of color and light) and white (simultaneous presence of all colors and light). A simple geometric form is emphasized - a sign that is not linked either associatively, or plastically, or ideologically, with any image, object, concept that already existed in the world before it, testified to the absolute freedom of its creator.
Summing up the work done, I came to the conclusion that the "Black Square" is not just a picture, but symbol of cosmic consciousness, which allows, under the condition of going beyond the visible, to understand that in front of us is not a black square, but a multi-colored cube - this is the uniqueness of the famous painting. The secret meaning embedded in the "Black Square" can be briefly formulated as follows: the world around us, only at first glance looks flat and black and white. If a person perceives the world in volume and in all its colors, his life will change dramatically. And by the way, it’s even good that Kazimir Malevich’s “Black Square” remains an unchanged and unsolved symbol of the 20th century. The posterity will have something to think about. I think that my work will be of interest to connoisseurs of art, lovers of everything beautiful and ambiguous, as well as students studying the "World Artistic Culture".
Download:
Preview:
MBOU "Secondary school No. 27 with in-depth study of individual subjects" of the city of Balakovo, Saratov region
Mystery of the Black Square
10 B class student
Head: Suboch Raisa Ivanovna,
teacher of Russian language, literature and MHK
Balakovo
2013
- Introduction p.3
- The main part of 4-11
Chapter 1. Malevich's Suprematism p. 4-7
Chapter 2. The uniqueness of the "Black Square" p. 8-11
- Conclusion p. 12
IV. List of used literature p. 13
V. Annex p. 14-16
Introduction
Today, at the beginning of the new century and millennium, I would like to once again comprehend the changes in the visual arts that took place at the beginning of the 20th century. Kazimir Malevich is a bright representative of the art of painting of this period, a symbol and banner of avant-garde creativity. On the one hand, almost all areas of modern art refer to his theoretical studies. On the other hand, some researchers believe that Malevich is the greatest swindler of all times and peoples. Maybe everything is simple, like in a fairy tale about a naked king: one said that the "Black Square" is brilliant, and all the rest, in order to pass for connoisseurs of painting, began to agree? Why, according to statistics, "Black Square" is the most popular work? Why is he often mentioned in the media? After all, this picture is already about 100 years old, and the controversy around it does not stop, so this topic is certainly relevant today.I want to understand this, so I chose object research "Black Square" by Malevich. Item research - Malevich's Suprematism, embodied in the "Black Square".
The purpose of the work is to determine the reasons for the mystery, the uniqueness of the "Black Square".
Research objectives:
Get acquainted with the Suprematism of the artist Malevich;
Find out if the painting "Black Square" by Kazimir Malevich is really unique.
To achieve this goal, methods of analysis, observation and comparison were used. The work was based on books about art, painting and Internet sites, reflecting the work of Kazimir Malevich.
Chapter 1. Malevich's Suprematism
In the art of the 20th century, the share of abstractionism is very significant. It is impossible to penetrate into the mystery and beauty of modern art, excluding abstraction from it. The pioneer of the avant-garde Malevich, known primarily for the "Black Square", began his career as an impressionist, but already in the 1910s he became an active participant in futuristic exhibitions, and later created his own theory of Suprematism. This direction is considered an offshoot of abstractionism and is expressed in combinations of multi-colored planes of the simplest geometric outlines (in the geometric forms of a straight line, square, circle and rectangle), devoid of pictorial meaning.(Appendix p.16) . Malevich's painting "The Black Square" is considered a pictorial manifesto of Suprematism. It is known that in the thirties of the last century, Malevich's work was withdrawn from the artistic life of our country as a manifestation of an extreme form of decline and decay of bourgeois art. And such an assessment of the artist's work objectively contained a grain of scandalous curiosity for the forbidden, persecuted and unjustly condemned. It is clear that this seed sprouted and grew stronger at the first opportunity. The personality and creativity of Malevich became the most fundamental argument, fertile soil and classical basis for the revival and development of the modern avant-garde. Of course, the assessment of Kazimir Malevich's work as a manifestation of pure decay and mediocrity is a more than simplified position. But the opposite point of view, which interprets the results of Malevich's searches as unusually significant discoveries in understanding the essence of art, insights that rise above the philistine understanding of art and open up unlimited possibilities for true creativity and deep philosophical reflection, seems doubtful to us.
This is probably why representatives of modern painting deny Malevich the great talent of the artist: “Probably, Archimedes and Pythagoras drew a square much earlier than Malevich. Probably, both now and many years ago there were people who painted over squares, triangles and other geometric shapes with multi-colored paints and no less accurately than Malevich. And Malevich's squares are no more square than all the other squares. What is the merit and innovation of Malevich? Malevich was the first to exhibit a painted square as a work of fine art. It is a fact. But the meaning of the event itself lies in the fact that it has nothing to do with the fine arts, and it is by no means possible to consider Kazimir Malevich a great artist. Malevich, quite obviously, is a great innovator who made a discovery of fundamental importance for the technological civilization of the 20th century.
And then the most important and, perhaps, the only result of Kazimir Malevich's work is to create the simplest image that can carry very important information, and such information is read instantly. This is an obvious fact, a great merit and a worthy result of the efforts of the designer Malevich, who works in the field of information signs.
Dmitry Vladimirovich Sarabyanov and Alexandra Semyonovna Shatskikh in their work"Kazimir Malevich. Theory. Painting"note that “... if we are in the same size, on the same canvases, in the same frames, on the same wall of the exhibition hall and side by side we place Malevich’s “Square”, Malevich’s “Cross”, Malevich’s “Four Squares”, Malevich’s “Circle”, the road sign “brick”, meaning that entry is prohibited, the red ring is a road sign, meaning that through passage is prohibited, the red triangle is the road sign “U step on the road", a white arrow in a blue rectangle - a road sign "One-way traffic", etc., we will be forced to admit that all these phenomena are of the same order. These images represent, or may represent, encoded information intended to be instantly read." And it is precisely this quality that is simply necessary for the technological civilization in which we exist. With the huge speeds of modern traffic on the roads, with the huge speeds of the latest technological processes, it is necessary to have such an alphabet of modern hieroglyphs in order to survive.
Other connoisseurs of art draw attention to the following fact: “Malevich's greatest merit is that he developed a visual technique that allows regulating human relationships in the conditions of the high-speed processes of modern technological civilization. The result of Malevich's creative search has nothing to do with the fine arts, which is busy studying the understanding of human spirituality. The innovation and achievements of Malevich belong entirely to the field of technological hieroglyphs. Industrial graphics, trademarks, industrial posters, emblems, badges - this is the world where both Malevich's square and traffic police road signs fit organically. And in such a peculiar world there are masters, geniuses, exhibitions and theoretical studies. But this is a completely different world of its own. Therefore, one must understand that it is impossible to compare and exhibit Raphael's paintings, trade emblems and car interior trim in one exhibition hall.
Malevich almost prophetically wrote in the 10s:"Painting goes to the road of the sky" – and invested in this concept a presentiment of reality breaking with the shackles of the material earthly world, promising a new world of spiritual values and dimensions.
In Suprematism, operating with combinations of geometric figures on a neutral background plane, Malevich took a step that no one in the world of painting before him could have dared to do - a complete rejection of figurativeness, even of those of its fragmented and shuffled elements that were preserved in the extreme currents of that time - cubism and futurism. Hence the high appreciation of the artist's work: “The influence of Malevich's works on architectural plans, back in the 20s, had a great role in the development of design and architecture. Planes, geometric figures that were used in Suprematism, began to be widely used by designers in their work. They looked great in the sheet, conveying perspective, breadth and variety. Suprematism made it possible for designers to show light, contrast and brightness. Clear forms of Suprematism helped to accurately convey the fullness of the idea on the sheet. The influence of Suprematism on architecture has survived to this day. That is, Suprematism is used so tightly in architecture that the use of Malevich’s works as a basis has become a habit, and now many architects and designers do not even know that all their design compositions are based on Suprematism.”
So , Malevich is an innovator who developed such a pictorial technique that has become decisive in modern architecture and design. After the impressionistic luminous dispersion of the world, the artist called for a deeper and more complete, and not just visual perception of all the richness of the surrounding material world.
Chapter 2. The uniqueness of Malevich's "Black Square"
“In 1915, Kazimir Malevich exhibited The Black Square, declaring that by writing it, he thus completely completed the history of the development of world painting. Thanks to such a statement, said at the right time and in the right place, this picture has become one of the most famous works of the world avant-garde. However, this "masterpiece" puts the common man "from the street" into a complete dead end. Almost anyone can draw exactly the same "masterpiece" himself! But after all, Malevich completed a whole stage of avant-garde painting: the Impressionists threw out the plot, the Post-Impressionists abandoned light and air, Wassily Kandinsky threw out the image itself, and Malevich threw everything away and did not paint anything. - this is how they met the appearance of Malevich's painting.
"Black Square" is a masterpiece that has its own secret as a symbol of ambiguity and infinity. Malevich's painting suggests just an infinite number of interpretations. "Black Square" is a masterpiece, but not because it is beautiful or not beautiful, realistic or not realistic, understandable or incomprehensible. But because he became a symbol of "verbose laconicism", the triumph of the human mind and the skill of Malevich - the artist who spoke about the universe in one word, embracing art in one black square on a white canvas(Appendix p.16).
Abstract paintings are good because they do not have a single fixed meaning... They are, as it were, not limited by what is depicted on them, by what can be directly seen with the eyes - behind the image with the inner eye you can see much more, and there are many meanings ... Therefore, they immerse a person in thoughts about the meaning of life, about the purpose of a person on earth, they teach to think and reflect. “Only a stupid boy will wave it off and say:“ I can do that too. And a wise man will reason and see in this square a true work of art - a woman, coal in a mining face, or maybe a burnt out window after a fire, or a burnt hole in his own soul.
Malevich's "Black Square" is the most scandalous canvas of the artist, which never ceases to excite the minds of anyone who touches it. The consciousness of the vast majority of earthlings is not able to classify Malevich's "Black Square" as a work of art. They are increasingly calculating its commercial value. Indeed, it is not easy for a person to understand that Malevich's uncomplicated "Black Square" can serve as the beginning of a new direction in art.
For the first time, Malevich's Black Square was presented to the public at a scandalous futuristic exhibition in Petrograd in 1915. Among other outlandish paintings by the artist, with mysterious phrases and numbers, with incomprehensible shapes and a heap of figures, a black square in a white frame stood out for its simplicity. Initially, the work was called "Black Rectangle on a White Background". Later, the name was changed to "square", despite the fact that, from the point of view of geometry, all sides of this figure are of different lengths and the square itself is slightly curved. With all these inaccuracies, none of its sides are parallel to the edges of the picture:
“Malevich's black square turned out to be a timely fruit of the artist's insight, who managed to create the foundations of the future language of art with this simplest geometric figure, which is fraught with many other forms. Rotating a square in a circle, Malevich obtained the geometric figures of a cross and a circle. When rotating along the axis of symmetry, I got a cylinder. A seemingly elementary flat square contains not only other geometric shapes, but can create three-dimensional bodies..
The same point of view is supported by other researchers of Malevich’s work: “The black square, dressed in a white frame, is nothing but the fruit of the creator’s insight and his reflections on the future of art ... The geometric figure of the square is not drawn on a ruler, but painted with a brush. The composition itself fits literally into a mathematical formula. In search of three-dimensional meanings embedded in simple planar forms, if you break the square into geometric figures and present them in space from a certain point of view, as they reconnect, they return to a planar figure.
Only people with abstract thinking are close and understandable to the ideas of Malevich and his Black Square about the principles of free shaping in space, where one form-figure overflows into another, reviving this endless chain of transitions. Malevich was well aware of the universality of the discovery of Suprematism, which dictated changes in all spheres of human creativity. At the end of writing the black square, Malevich, as the artist himself describes, could neither sleep nor eat. So great was the inspiration of the significance of the changes he revealed for all mankind. And art, like all other spheres of human life and activity, is subject to global changes. Especially, in the transitional moments of history, it goes far ahead of the curve.
In order to know and feel the whole meaning laid down by the artist in the "Black Square", anyone who wants to know and feel not only the meaning of the work itself, but also the whole history of painting, which also implies the history of all mankind.
The black square signified the pure act of creation carried out by the artist. Assessing its uniqueness, Starokhamskaya K. Yu. notes: “Cricket art critics write: the conceptual content of the Black Square is primarily to bring the viewer’s consciousness into the space of another dimension, to that single Suprematist plane, both economic and economic. In this space of a different dimension, three main directions can be distinguished - suprematism, economy and economy. In itself, the form in Suprematism, due to its pointlessness, does not represent anything. On the contrary, it destroys things and acquires meaning as a primary element, completely subordinate to the economic principle, which in symbolic expression is “zero forms”, “Black Square”.
Thus , we see that many researchers tried to unravel the mystery of the "Black Square". What conclusions did they come to? There are many(Appendix "Interesting Facts" p.14-15). It is closer and clearer to me that the black square seems to have absorbed all the forms and all the colors of the world, reducing them to a plastic formula dominated by the polarity of black (complete absence of color and light) and white (simultaneous presence of all colors and light). A simple geometric form is emphasized - a sign that is not linked either associatively, or plastically, or ideologically with any image, object, concept that already existed in the world before it, testified to the absolute freedom of its creator.
Conclusion
The study made it possible to find out that the painting "Black Square" by Malevich is really unique.
It was established that "Black Square" is not just a painting, "Black Square" is a work of Suprematism. Malevich is an innovator who developed such a pictorial technique that has become decisive in modern architecture and design. After the impressionistic luminous dispersion of the world, the artist called for a deeper and more complete, and not just visual perception of all the richness of the surrounding material world.Suprematism had a huge impact not only on painting, but also on architecture and applied arts.
We have established that the black square seems to have absorbed all the forms and all the colors of the world, reducing them to a plastic formula dominated by the polarity of black (complete absence of color and light) and white (simultaneous presence of all colors and light). A simple geometric form is emphasized - a sign that is not linked either associatively, or plastically, or ideologically, with any image, object, concept that already existed in the world before it, this form testified to the absolute freedom of its creator.
So , The "Black Square" is not just a picture, but a symbol of cosmic consciousness, which allows us to understand, provided that we go beyond the visible, that we have before us not a black square, but a multi-colored cube - this is the uniqueness of the famous painting. The secret meaning embedded in the "Black Square" can be briefly formulated as follows: the world around us, only at first glance looks flat and black and white. If a person perceives the world in volume and in all its colors, his life will change dramatically.And by the way, it’s even good that Kazimir Malevich’s “Black Square” remains an unchanged and unsolved symbol of the 20th century. Descendants will have something to think about.
List of used literature
- Zuffi S., Castria F. Modern painting. In search of freedom: from classicism to the avant-garde. M., 2002.
- Diaghilev and his era. SPb., 2001.
- Kandinsky V. V. Steps. On the spiritual in art. (Any edition.)
- Kantor A. M. Fine Arts of the XX century. M., 1978.
- Malevich K.S. From Cubism and Futurism to Suprematism. Suprematism. The world as non-objectivity. (Any edition.)
- Modernism. Analysis and criticism. M., 1987.
- Nenarokomov M. Romance of the Russian avant-garde // Our heritage. 1989. No. 1.
- Field V. M. Twentieth century. M., 1989.
- Field V. M. Art of the XX century. 1901-1945. M., 1991. (Small history of arts).
Application
Kazimir Malevich (1878 -1935)
Interesting Facts
Currently, there are four "Black Squares" in Russia: in Moscow and St. Petersburg, two "Squares" each: two in the Tretyakov Gallery, one in the Russian Museum and one in the Hermitage. One of the works belongs to the Russian billionaire Vladimir Potanin, who bought it from Inkombank in 2002 for 1 million US dollars (30 million rubles) and transferred this first of the existing versions of the canvas depicting the "Black Square" by the founder of Suprematism to the Hermitage for indefinite storage.
One of the Black Squares, painted in 1923, is part of a triptych that also includes the Black Cross and the Black Circle.
In 1893, a similar painting by Alphonse Allais was already exhibited, entitled "The Battle of the Negroes in a Deep Cave on a Dark Night."
According to one version, the artist was unable to complete the work on the painting in the right time, so he had to cover up the work with black paint. Subsequently, after the recognition of the public, Malevich painted new "Black Squares" already on blank canvases. Attempts to examine the canvas in order to find the original version under the top layer were made repeatedly. However, scholars and critics felt that irreparable damage could be done to the masterpiece.
This picture was painted by Malevich without the use of black paints - and this is precisely its main artistic value.
"Black square"
"White square"
"Black Circle" "Black Cross"
The artist Malevich is a joke.
The black square is the pinnacle of Jewish creativity.
This "great" Jewish "artist" painted an ordinary black square for about 20 years. And that's it. Not bad? Here is such a "work of art" once created by Malevich.
The question is: does nationality affect the creative potential of a person? Or does it not affect? Advocates against Judaism say it doesn't. However, it turns out that it really does. And this picture fully proves it. This picture can be repeated by any child who has a little idea what a square is. However, the interpreters and interpreters of our century are firmly convinced that this picture can and should be placed in the Tretyakov Gallery. Personally, I had to contemplate a collection of his daubs. The sight is idiotic. I am happy to share three more pictures with you, dear reader. "Malevich" and "to paint" are clearly words of the same root.
It is obvious and irrefutable that such drawings are drawn by small children. But no one has thought of this before. Wise Malevich, ah yes wise. And how much Judaism was splashed on the heads of gullible listeners. It's scary to remember. And this process does not stop. Why is all this being done? This is done in order to disable people's ability to think and draw conclusions for themselves. Like, they don’t understand anything, but the real “specialists” say that ... Malevich's painting is the same bible, only in art. That is, obvious nonsense, but very elegantly interpreted. And the field for interpreting the "mysterious meaning" of the "Black Square" is no less than the field for interpreting the Bible. This is typical of all abstract art, cubism and other bastard art forms. That is, people tend to disconnect from their own thoughts. When a person openly says that this is nonsense, they say something like: “You don’t understand anything, here are real experts writing, take it and read it.” And the person turns off and begins to believe in anything, in any abracadabra. By the way, Malevich has already begun to be considered similar to Christ, only in art. Here are a few passages devoted to the "deepest meaning" of this "picture".
"But the black square - what does it mean anyway? Associate professor at East Kazakhstan State University, teacher of cultural studies Svetlana Tsaregorodtseva expresses a hypothesis that sheds light on this great mystery. It is symbolic that this discovery took place at the turn of the century, on the threshold of the 21st century. Here is what she writes: "To understand Malevich, we must remember that at the beginning of the century there was a revival of Russian and Byzantine icons, there was great interest in them. This influence was experienced not only Russian artists Kandinsky, Malevich, Chagall, but also foreign (Matisse, Picasso, Léger). All of them openly admitted that the icon for them is like a window to the world. So, on one of the Byzantine icons there is an image of a saint who traditionally has a round halo. And next to him is a mortal earthly man, and his halo is a quadrangular one. In the traditions of ancient icon painting, the square was a symbol of the earth, the stability of the world. So, Malevich painted the ancient sign of the earth?
"Do you have any questions? No questions," said Comrade Sukhov.
"If you look at it for a long time, you can see a white dot somewhere deep. Whoever catches it will comprehend the truth." We sit and catch!
He looked at the black square until he cried, stared until he lost his pulse. And no dots are visible: neither white, nor green, nor red. It's a pity. In addition, the author of this passage had to experiment with pictures that are designed to deceive the eye. For example, blue squares are drawn, separated by white stripes. And between them you can see points that are not really there. You can have fun yourself, play your imagination.
As many as 30 squares. Dark blue. Such are the features of the brain: neurons are trapped. Here, instead of one truth, we have caught as many as twenty. Well, why are we worse than Malevich? Where are the flowers, money and recognition?
"In those years, Malevich heralded the arrival of a new aesthetics in art. The very role of the picture changed - the picture became, as it were, a window into the" new reality ". Therefore, the square is a collective symbol of the picture of tomorrow. This is the end of the picture, in the traditional sense of the word, and the beginning of something new. It is both the beginning and the end."
"The black square seems to have absorbed all the forms and all the colors of the world, reducing them to a plastic formula, dominated by the poles of black (complete absence of color and light) and white (simultaneous presence of all colors and light). An emphatically simple geometric form-sign, not linked either associatively, plastically, or ideologically with any image, object, concept that already existed in the world before it, testified to the absolute freedom of its creator. The black square of banners the oval is a pure act of creation carried out by the artist-demiurge".
Recently someone joked that it was time to exhibit Malevich's "picture" if not in the Louvre, then certainly in the Hermitage. Well, that's survived, "dear Russians." The Hermitage bought this burp from Inkombank for 1 million dollars! What are Shilov, Glazunov, Vasiliev like? In general, what kind of nonsense is this? Whether business - Malevich! Minister of Culture Shvydkoi spoke on this occasion. I just want to ask: whose minister of culture is the Jew Shvydkoi? It is not scary that in the eyes of a few, so far, people, all this caudal "art critics" looks like a crowd looking at a naked king and admiring his clothes. All the same, there will be a boy in the crowd who exclaimed: "But the king is naked!" Maybe then it will finally reach all sorts of Svetlana Tsaregorodtsev and others like them that it is useless to try to see what is REALLY NOT.