Kazimir Malevich

"Malevich" redirects here. For the surname, seeMalevich (surname).

In this name that followsEastern Slavic naming customs,thepatronymicisSeverinovichand thefamily nameisMalevich.

Kazimir Malevich
Казимир Малевич
Born	(1879-02-23)23 February 1879 Kiev,Russian Empire (nowKyiv,Ukraine)
Died	15 May 1935(1935-05-15)(aged 56) Leningrad,Russian SFSR,Soviet Union(nowSaint Petersburg,Russia)
Nationality	Russian Empire (1879–1917) Soviet Union (1922–1935)
Education	Moscow School of Painting, Sculpture and Architecture
Notable work	An Englishman in Moscow,1914;Black Square,1915;White on White,1918
Movement	Suprematism

Kazimir Severinovich Malevich(23 February [O.S.11 February] 1879– 15 May 1935) was aRussian avant-gardeartist and art theorist, whose pioneering work and writing influenced the development ofabstract artin the 20th century.He was born inKiev,modern-dayUkraine,to anethnic Polishfamily. His concept ofSuprematismsought to develop a form of expression that moved as far as possible from the world of natural forms (objectivity) and subject matter in order to access "the supremacy of pure feeling"and spirituality.Active primarily in Russia, Malevich was a founder of the artists collectiveUNOVISand his work has been variously associated with theRussian avant-gardeand theUkrainian avant-garde,and he was a central figure in the history of modern art in Central and Eastern Europe more broadly.

Early on, Malevich worked in a variety of styles, quickly assimilating the movements ofImpressionism,SymbolismandFauvismand, after visiting Paris in 1912,Cubism.Gradually simplifying his style, he developed an approach with key works consisting of puregeometricforms and their relationships to one another, set against minimal grounds. HisBlack Square(1915), a black square on white, represented the most radically abstract painting known to have been created so farand drew "an uncrossable line (…) between old art and new art";Suprematist Composition:White on White(1918), a barely differentiated off-white square superimposed on an off-white ground, would take his ideal of pure abstraction to its logical conclusion.In addition to his paintings, Malevich laid down his theories in writing, such as "From Cubism and Futurism to Suprematism" (1915)andThe Non-Objective World: The Manifesto of Suprematism(1926).

Malevich's trajectory in many ways mirrored the tumult of the decades surrounding theOctober Revolutionin 1917.In its immediate aftermath, vanguard movements such as Suprematism andVladimir Tatlin'sConstructivismwere encouraged byTrotskyitefactions in the government. Malevich held several prominent teaching positions and received a solo show at the Sixteenth State Exhibition in Moscow in 1919. His recognition spread to the West with solo exhibitions in Warsaw and Berlin in 1927. From 1928 to 1930, he taught at the Kiev Art Institute, withAlexander Bogomazov,Victor Palmov,Vladimir Tatlinand published his articles in a Kharkiv magazineNova Generatsiia(New generation).But the start of repression in Ukraine against theintelligentsiaforced Malevich return toLeningrad(Saint Petersburg). From the beginning of the 1930s, modern art was falling out of favor with the new government ofJoseph Stalin.Malevich soon lost his teaching position, artworks and manuscripts were confiscated, and he was banned from making art.In 1930, he was imprisoned for two months due to suspicions raised by his trip to Poland and Germany. Forced to abandon abstraction, he painted in a representational style in the years before his death from cancer in 1935, at the age of 56.

His art and his writings influenced contemporaries such asEl Lissitzky,Lyubov PopovaandAlexander Rodchenko,as well as generations of later abstract artists, such asAd Reinhardtand theMinimalists.He was celebrated posthumously in major exhibits at theMuseum of Modern Art(1936), theGuggenheim Museum(1973) and theStedelijk Museumin Amsterdam (1989), which has a large collection of his work. In the 1990s, the ownership claims of museums to many Malevich works began to be disputed by his heirs.

Early life (1879-1904)

Kazimir Malevich (c.1900)

Kazimir Malevichwas born in 1879 Kazimierz Malewicz to aPolishfamily,who settled near Kiev inKiev Governorateof theRussian Empireduring thepartitions of Poland.His parents, Ludwika and Seweryn Malewicz, wereRoman Catholiclike most ethnic Poles,though his father attended Orthodox services as well.His native language was Polish, but he also spoke Russian,as well as Ukrainian due to his childhood surroundings.His mother Ludwika wrote poetry in Polish and sang Polish songs, and kept a record of the Polish families living in the area.Malevich would later write a series of articles in Ukrainian about art, and identified as Ukrainian.

Kazimir's father managed a sugar factory. Kazimir was the first of fourteen children,only nine of whom survived into adulthood. His family moved often and he spent most of his childhood in the villages of modern-day Ukraine, amidst sugar-beet plantations, far from centers of culture. Until age twelve, he knew nothing of professional artists, although art had surrounded him in childhood. He delighted in peasant embroidery, and in decorated walls and stoves. He was able to paint in the peasant style. He studied drawing in Kiev from 1895 to 1896. From 1896 to 1904, Kazimir Malevich lived inKursk,where he encountered several Russian artists, including Lev Kvachevsky, with whom he often worked outdoors.

Avant-garde and Moscow (1904-1915)

In 1904, recognizing his style as increasingly more Impressionistic, he intended to receive more academic training and moved toMoscow.Between 1905 and 1910, he worked in the studio ofFedor Rerbergin Moscow. Malevich and other artists in Moscow gained an early exposure to Western avant-garde art, particularly to the works ofPablo PicassoandHenri Matisse,through the private collection ofSergei Shchukin.By 1904, as more French art was being reproduced and discussed in Russia in the magazineMir iskusstva,Malevich had also become acquainted with the work ofPaul Gauguin.

Symbolism had an impact on Malevich's work during that time, as evident in paintings such asThe Triumph of Heaven(1907) andThe Shroud of Christ(1908).In 1911, he participated in the second exhibition of the group,Soyuz Molodyozhi(Union of Youth) inSt. Petersburg,together withVladimir Tatlinand, in 1912, the group held its third exhibition, which included works byAleksandra Ekster,Tatlin, and others. In the same year, he participated in an exhibition by the collective,Donkey's Tailin Moscow. By that time, his works were influenced byNatalia GoncharovaandMikhail Larionov,Russian avant-garde painters, who were particularly interested in Russian folk art calledlubok.Malevich described himself as painting in a "Cubo-Futurist"style in 1912.

In March 1913, Malevich participated in theTargetexhibition in Moscow together with Goncharova and Larionov, continuing to reinterpret Futurist vocabularies to "suggest movement by breaking cone shapes into almost unrecognizable forms".Among other paintings, Malevich exhibitedMorning in the Country after SnowstormandKnifegrinder or Principle of Flickering,both made in 1912, atTargetfor the first time.That same year, theCubo-Futuristopera,Victory Over the Sun,with Malevich's stage-set, debuts in Saint Petersburg. In 1914, Malevich exhibited his works in theSalon des Indépendantsin Paris together withAlexander Archipenko,Sonia Delaunay,Aleksandra Ekster,andVadim Meller,among others.

Malevich also co-illustrated, withPavel Filonov,Selected Poems with Postscript, 1907–1914byVelimir Khlebnikovand another work by Khlebnikov in 1914 titledRoar! Gauntlets, 1908–1914,withVladimir Burliuk.Later in that same year, he created a series of lithographs in support of Russia's entry into WWI. These prints, accompanied by captions byVladimir Mayakovskyand published by the Moscow-based publication houseSegodniashnii Lubok(Contemporary Lubok), on the one hand show the influence of traditional folk art, but on the other are characterised by solid blocks of pure colours juxtaposed in compositionally evocative ways that anticipate his Suprematist work.

In 1911, Brocard & Co. produced an eau de cologne calledSeverny.Malevich conceived the advertisement and design of the perfume bottle withcraquelureof an iceberg and a polar bear on the top, which lasted through the mid-1920s.

Party,oil on canvas, 1908

The Knifegrinder,oil on canvas, 1912

Black Square,oil on canvas, 1915

Suprematism (1915)

In 1915, Malevich laid down the foundations ofSuprematismwhen he published his manifesto,From Cubism to Suprematism.In 1915–1916, he worked with other Suprematist artists in a peasant/artisanco-operativeinSkoptsiandVerbovkavillage. In 1916–1917, he participated in exhibitions of theJack of Diamondsgroup in Moscow together withNathan Altman,David Burliuk,Aleksandra Eksterand others. Famous examples of his Suprematist works includeBlack Square(1915)andWhite On White(1918).

Malevich exhibited his firstBlack Square,now at theTretyakov Galleryin Moscow, at theLast Futurist Exhibition 0,10in Petrograd (Saint Petersburg) in 1915.A black square placed against the sun appeared for the first time in the 1913 scenic designs for theFuturistoperaVictory over the Sun.The secondBlack Squarewas painted around 1923. Some believe that the thirdBlack Square(also at the Tretyakov Gallery) was painted in 1929 for Malevich's solo exhibition, because of the poor condition of the 1915 square. One moreBlack Square,the smallest and probably the last, may have been intended as a diptych together with theRed Square(though of smaller size) for the exhibition Artists of the RSFSR: 15 Years, held in Leningrad (1932). The two squares, Black and Red, were the centerpiece of the show. This last square, despite the author's note1913on the reverse, is believed to have been created in the late twenties or early thirties, for there are no earlier mentions of it.

While Malevich's ideas and theories behind Suprematism were grounded in a belief in the spiritual and transformative power of art, he saw Suprematism as a way to access a higher, more pure realm of artistic expression and to tap into the spiritual through abstraction. Thus, the overarching philosophy of Suprematism expressed in various manifestos would be that he "transformed himself in the zero of form and dragged himself out of the rubbish-heap of illusion and the pit of naturalism. He destroyed the ring of the horizon and escaped from the circle of objects, moving from the horizon-ring to the circle of spirit".

Malevich's studentAnna Leporskayaobserved that Malevich "neither knew nor understood what the black square contained. He thought it so important an event in his creation that for a whole week he was unable to eat, drink or sleep".In 1918, Malevich decorated a play,Mystery-Bouffe,byVladimir Mayakovskiyproduced byVsevolod Meyerhold.He was interested inaerial photographyandaviation,which led him toabstractionsinspired by or derived fromaerial landscapes.

Suprematist works by Malevich at the 0.10 Exhibition, Petrograd, 1915

Супрематизм» Suprematism, oil on canvas, 1915 Russian Museum

Suprematist Composition: White on White, 1918, Museum of Modern Art, New York

Painting technique

According to an observation by radiologist and art historian Milda Victurina, one of the features of Kazimir Malevich's painting technique was the layering of paints one on another to get a special kind of colour spots. For example, Malevich used two layers of colour for the red spot—the lower black and the upper red. The light ray going through these colour layers is perceived by the viewer not as red, but with a touch of darkness. This technique of superimposing the two colours allowed experts to identify fakes of Malevich's work, which generally lacked it.

Post-revolutionary years (1918-1935)

Kazimir Malevich with his paintings in Leningrad (1924)

After theOctober Revolution(1917), Malevich became a member of the Collegium on the Arts ofNarkompros,the Commission for the Protection of Monuments and the Museums Commission (all from 1918–1919). He taught at theVitebskPractical Art School inBelarus(1919–1922) alongsideMarc Chagall,theLeningrad Academy of Arts(1922–1927), the Kiev Art Institute (1928–1930),and the House of the Arts in Leningrad (1930). He wrote the bookThe World as Non-Objectivity,which was published inMunichin 1926 and translated into English in 1959. In it, he outlines his Suprematist theories.

In 1923, Malevich was appointed director of Petrograd State Institute of Artistic Culture, which was forced to close in 1926 after a Communist party newspaper called it "a government-supported monastery" rife with "counterrevolutionary sermonizing and artistic debauchery." The Soviet state was by then heavily promoting an idealized, propagandisticstyle of art calledSocialist Realism—a style Malevich had spent his entire career repudiating. Nevertheless, he swam with the current, and was quietly tolerated by the Communists.

In 1927, Malevich traveled toWarsawwhere he exhibited his work at the Polish Arts Club housed in thePolonia Hotel.He met with several Polish artists, including his former studentsWładysław StrzemińskiandKatarzyna Kobro,whose own movement, Unism, was highly influenced by Malevich, andHenryk Stażewski,a prominent artist associated with Polish Constructivist movement.While generally greeted with enthusiasm, Malevich faced criticism from some artists, includingMieczysław Szczuka,who argued that Suprematism, as understood by Malevich, was no longer relevant for Polish utilitarianism-oriented avant-garde and that the artist was "a Romantic who loves painterly means for their own sake".Art historianMatthew Druttnotes that despite these criticisms, Malevich's Warsaw exhibition and the lecture on Suprematism he had delivered during his visit had a lasting effect on Polish modernism.From there, the painter ventured on toBerlinandMunichfor a retrospective which finally brought him international recognition. He arranged to leave most of the paintings behind when he returned to the Soviet Union.

Stalinism and censorship

Malevich's assumption that a shifting in the attitudes of theSoviet authoritiestoward themodernistart movement would take place after the death ofVladimir LeninandLeon Trotsky's fall from power was proven correct in a couple of years, when the government ofJoseph Stalinturned against forms of abstraction, considering them a type of "bourgeois"art, that could not express social realities. As a consequence, many of his works were confiscated and he was banned from creating and exhibiting similar art.

In autumn 1930, he was arrested and interrogated by theOGPUin Leningrad, accused of Polish espionage, and threatened with execution. He was released from imprisonment in early December.Critics derided Malevich's art as a negation of everything good and pure: love of life and love of nature. The Westernizer artist and art historianAlexandre Benoiswas one such critic. Malevich responded that art can advance and develop for art's sake alone, saying that "art does not need us, and it never did".

Death

Sensation of an imprisoned man, oil on canvas,1930–31

When Malevich died ofcancerat the age of fifty-seven, in Leningrad on 15 May 1935, his friends and disciples buried his ashes in a grave marked with a black square. They didn't fulfill his stated wish to have the grave topped with an "architekton" —one of his skyscraper-likemaquettesof abstract forms, equipped with atelescopethrough which visitors were to gaze atJupiter.

On his deathbed, Malevich had been exhibited with theBlack Squareabove him, and mourners at his funeral rally were permitted to wave a banner bearing a black square.Malevich had asked to be buried under an oak tree on the outskirts ofNemchinovka,a place to which he felt a special bond.His ashes were sent to Nemchinovka, and buried in a field near hisdacha.Nikolai Suetin, a friend of Malevich's and a fellow artist, designed a white cube with a black square to mark the burial site. The memorial was destroyed duringWorld War II.The city of Leningrad bestowed a pension on Malevich's mother and daughter.

In Nazi Germany his works were banned as "Degenerate Art".In 2013, an apartment block was built on the place of the tomb and burial site of Kazimir Malevich. Another nearby monument to Malevich, put up in 1988, is now also situated on the grounds of agated community.

Nationality and ethnicity

Signature of Kazimierz Malewicz in Polish on the back of his self-portrait entitled "Artist" (1933)

Most academic literature and museum collections identify Malevich as a Russian painter, based on his integral role in shaping the Russian avant-garde, centered primarily around Moscow and Petrograd (modern-day St. Petersburg), and the fact that he achieved prominence while living and working in the Russian Empire and later, from 1922 until his death in 1935, the Soviet Union. However, his nationality has been a subject of scholarly dispute.

Polish

Malevich's family was one of the millions ofPoles who lived within the Russian Empirefollowing thePartitions of Poland.Kazimir Malevich was born nearKievon lands that had previously been part of thePolish–Lithuanian Commonwealthof parents who were ethnicPoles.Both Polish and Russian were native languages of Malevich,who would sign his artwork in thePolishform of his name asKazimierz Malewicz.In a 1926 visa application to travel to France, Malewicz claimedPolishas his nationality.French art historianAndrei Nakov,who re-established Malevich's birth year as 1879 (and not 1878), has argued for restoration of the Polish spelling of Malevich's name.

Girl with a Comb in her Hair, 1933, oil on canvas,Tretyakov Gallery

In 1985, Polish performance artist Zbigniew Warpechowski performed "Citizenship for a Pure Feeling of Kazimierz Malewicz" as an homage to the great artist and critique of Polish authorities that refused to grant Polish citizenship to Kazimir Malevich.In 2013, Malevich's family inNew York Cityand fans founded the not-for-profitThe Rectangular Circle of Friends of Kazimierz Malewicz,whose dedicated goal is to promote awareness of Kazimir's Polish ethnicity.

Ukrainian

According to Russian scholars Tatiana Mikhienko andIrina Vakar,the secret police file from Malevich's arrest on September 20, 1930 indicates that Malevich declared his nationality as Ukrainian.Scholar Marie Gasper-Hulvat notes that this may have been in part motivated by Malevich's desire to avoid anti-Polish discrimination, since Ukraine was at that time part of the Soviet Union.It is sometimes claimed that he self-identified as a Ukrainian throughout his life.Similarly, the French art historianGilles Néretclaimed that Malevich, while at times identifying as Polish "out of tact or mischief" and using the Polish spelling of his name, always emphasized his Ukrainian background.

Following theRussian invasion of Ukrainein 2022 there has been more political and cultural pressure to reconsider his Russian nationality and to identify him instead as Ukrainian painter.This push resulted in theMetropolitan Museum of Artrelabeling him as Ukrainian painter, and later Stedelijk Museum labeling him as "Ukrainian painter of Polish origin". The relabeling caused a backlash from Russia, including a statement of the Ministry of Foreign Affairs.However, the consensus among art historians, including those of Ukrainian origin, is that whereas the discussion (related to theRussian colonialism) clearly needs to take place among all involved parties, it has not yet occurred, and the question concerning the identity of Malevich has not been solved as of 2023.

Legacy

Malevich,Portrait ofMikhail Matyushin,1913

Alfred H. Barr Jr.included several paintings in the groundbreaking exhibition "Cubism and Abstract Art" at theMuseum of Modern Artin New York in 1936. In 1939, theMuseum of Non-Objective Paintingopened in New York, whose founder,Solomon R. Guggenheim—an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art.

The first U.S. retrospective of Malevich's work in 1973 at theSolomon R. Guggenheim Museumprovoked a flood of interest and further intensified his impact on postwar American and European artists.However, most of Malevich's work and the story of the Russian avant-garde remained under lock and key untilGlasnost.In 1989, theStedelijk Museumin Amsterdam held the West's first large-scale Malevich retrospective, including the paintings they owned and works from the collection of Russian art criticNikolai Khardzhiev.

Collections

Malevich's works are held in several major art museums, including theState Tretyakov Galleryin Moscow, and in New York, theMuseum of Modern Artand theGuggenheim Museum.TheStedelijk Museumin Amsterdam owns 24 Malevich paintings, more than any other museum outside of Russia.Another major collection of Malevich works is held by theState Museum of Contemporary Artin Thessaloniki.

Art market

Suprematist composition 1916, sold for US$85,812,500

Black Square,the fourth version of hismagnum opuspainted in the 1920s, was discovered in 1993 inSamaraand purchased byInkombankfor US$250,000.In April 2002, the painting wasauctionedfor an equivalent of US$1 million. The purchase was financed by the Russian philanthropistVladimir Potanin,who donated funds to the Russian Ministry of Culture,and ultimately, to theState Hermitage Museumcollection.According to the Hermitage website, this was the largest private contribution to state art museums since theOctober Revolution.

In 2008, theStedelijk Museumrestituted five works to the heirs of Malevich's family from a group that had been left in Berlin by Malevich, and acquired by the gallery in 1958, in exchange for undisputed title to the remaining pictures.On 3 November 2008, one of these works entitledSuprematist Compositionfrom 1916, set the world record for any Russian work of art and any work sold at auction for that year, selling atSotheby'sin New York City for just over US$60 million (surpassing his previous record of US$17 million set in 2000).

In May 2018, the same paintingSuprematist Composition1916 sold at Christie's New York for over US$85 million (including fees), a record auction price for a Russian work of art.

Original Malevich-designedfrost glassbottle withcraquelurefor "Severnyeau de cologne"(1911–1922)

In popular culture

Malevich's life inspires many references featuring events and the paintings as players. The smuggling of Malevich paintings out of Russia is a key to the plot line of writerMartin Cruz Smith's thrillerRed Square.Noah Charney's novel,The Art Thieftells the story of two stolen MalevichWhite on Whitepaintings, and discusses the implications of Malevich's radical Suprematist compositions on the art world. British artistKeith Coventryhas used Malevich's paintings to make comments on modernism, in particular his Estate Paintings. Malevich's work also is featured prominently in theLars von Trierfilm,Melancholia.At the Closing Ceremony of the2014 Winter OlympicsinSochi,Malevich visual themes were featured (via projections) in a section on 20th century Russian modern art.

Selected works

• 1912 –Morning in the Country after Snowstorm
• 1912 –The Woodcutter
• 1912–13 –Reaper on Red Background
• 1914 –The Aviator
• 1914 –An Englishman in Moscow
• 1914 –Soldier of the First Division
• 1915 –Black Square
• 1915 –Red Square†
• 1915 –Black Square and Red Square††
• 1915 –Suprematist Composition
• 1915 –Suprematism (1915)
• 1915 –Suprematist Painting: Aeroplane Flying
• 1915 –Suprematism: Self-Portrait in Two Dimensions
• 1915–16 –Suprematist Painting (Ludwigshafen)
• 1916 –Suprematist Painting (1916)
• 1916 –SupremusNo. 56
• 1916–17 –Suprematism (1916–17)
• 1917 –Suprematist Painting (1917)
• 1918 –White on White
• 1919–1926 –Untitled (Suprematist Composition)
• 1928–1932 –Complex Presentiment: Half-Figure in a Yellow Shirt
• 1932–1934 –Running Man

† Also known asRed Square: Painterly Realism of a Peasant Woman in Two Dimensions.
†† Also known asBlack Square and Red Square: Painterly Realism of a Boy with a Knapsack – Color Masses in the Fourth Dimension.

Gallery

• 
  Flower Girl,1903
• 
  Bathers,1908
• 
  Winter,1909
• 
  Taking in the Rye,1911
• 
  Self-portrait,1912
• 
  Head of a Peasant Girl,1912-1913
• 
  Bureau and Room,1913
• 
  Cow and Fiddle,1913
• 
  Englishman in Moscow,1914
• 
  Composition with the Mona Lisa,1914
• 
  Black Circle,motive 1915, painted 1924,State Russian Museum,St. Petersburg,Russia
• 
  Suprematist Composition,painted in 1915
• 
  Red Square,1915, State Russian Museum, St. Petersburg
• 
  Suprematist Composition,1916
• 
  Suprematist Painting: Eight Red Rectangles,1915
• 
  Suprematism,Museum of Art,Krasnodar1916
• 
  Untitled (Suprematist Composition),Solomon R. Guggenheim Museum,New York City, c. 1919-1926
• 
  Untitled (Suprematist Composition),Solomon R. Guggenheim Museum,New York City, c. 1919-1926
• 
  Black Square,c.1923,State Russian Museum,St. Petersburg,Russia
• 
  Black Cross,1920s,State Russian Museum,St. Petersburg,Russia
• 
  Suprematism,1921-1927,Stedelijk Museum,Amsterdam
• 
  Boy,1928-1932
• 
  Red Cavalry,1928-1932
• 
  Summer Landscape,1929
• 
  Mower,1930
• 
  Running man,1932
• 
  Complex Presentiment: Half-Figure in a Yellow Shirt,1928-1932

Autobiographies

Malevich wrote two biographical essays, a shorter one in 1923–25, and a much longer account in 1933, representing the artist's explanation of his own evolution up to the appearance of suprematism at the 1915 "0–10" exhibition in Petrograd. Both are published in:

• Vakar, I. A.; Mikhienko, T. N., eds. (2004).Malevich o sebe: Sovremenniki o Maleviche(in Russian). Vol. 1. Moscow: RA. pp. 17–45.ISBN5269010283.

Abridged and revised translations are published in:

• Malevich, Kazimir (1990). "From 1/42: Autobiographical Notes, 1923–1925". In D'Andrea, Jeanne (ed.).Kazimir Malevich, 1878–1935: [exhibition], National Gallery of Art, Washington, D.C., 16 September 1990-4 November 1990, the Armand Hammer Museum of Art and Cultural Center, Los Angeles, 28 November 1990–13 January 1991, the Metropolitan Museum of Art, New York, 7 February 1991–24 March 1991.Los Angeles. pp. 169–75.ISBN0-295-97066-9.OCLC22999015.{{cite book}}:CS1 maint: location missing publisher (link)

The 1923–25 autobiography appears in:

• Malevich, Kazimir (1968). "IZ 1/42: Avtobiograficheskie zametki, 1923–1925". In Troels, Andersen (ed.).K. S. Malevich: Essays on Art: 1915–1933.Vol. 2. Translated by Glowacki-Prus, Xenia; McMillin, Arnold. Copenhagen: Borgen. pp. 147–54.ISBN978-0815004196.

The 1933 autobiography appears in:

• Khardzhiev, Nikolai; Malevich, Kazimir; Matiushin, Mikhail (1976). Khardzhiev, Nikolai (ed.).K istorii russkogo avangarda(in Russian). Stockholm: Almqvist and Wiksell International. pp. 85–127.ISBN9122000836.
• Malevich, Kazimir; Upchurch, Alan (1985)."Chapters from an Artist's Autobiography".October.34 (Fall 1985): 25–44.doi:10.2307/778487.JSTOR778487.Archivedfrom the original on 16 October 2022.Retrieved15 December2022.

See also

• List of Russian artists
• Sergei Senkin
• Oberiu
• UNOVIS

Bibliography

• Crone, Rainer, Kazimir Severinovich Malevich and David Moos.Kazimir Malevich: The Climax of Disclosure.Chicago: University of Chicago Press, 1991.
• Dreikausen, Margret,Aerial Perception: The Earth as Seen from Aircraft and Spacecraft and Its Influence on Contemporary Art(Associated University Presses:Cranbury, NJ;London,England;Mississauga, Ontario:1985).ISBN0-87982-040-3
• Drutt, Matthew;Malevich, Kazimir,Kazimir Malevich: suprematism,Guggenheim Museum, 2003,ISBN0-89207-265-2
• Honour, H.and Fleming, J. (2009)A World History of Art.7th edn. London: Laurence King Publishing.ISBN9781856695848
• Malevich, Kasimir,The Non-objective World,Chicago: P. Theobald, 1959.ISBN0-486-42974-1
• Malevich and his Influence,Kunstmuseum Liechtenstein,2008.ISBN978-3-7757-1877-6
• Milner, John; Malevich, Kazimir,Kazimir Malevich and the art of geometry,Yale University Press,1996.ISBN0-300-06417-9
• Nakov, Andrei,Kasimir Malevich, Catalogue raisonné,Paris, Adam Biro, 2002
• Nakov, Andrei, vol. IV ofKasimir Malevich, le peintre absolu,Paris, Thalia Édition, 2007
• Néret, Gilles,Kazimir Malevich and Suprematism 1878–1935,Taschen, 2003.ISBN0-87414-119-2
• Petrova, Yevgenia,Kazimir Malevich in the State Russian Museum.Palace Editions, 2002.ISBN978-3-930775-76-7.(English Edition)
• Shatskikh, Aleksandra S, and Marian Schwartz,Black Square: Malevich and the Origin of Suprematism,2012.ISBN9780300140897
• Shishanov, V.A.Vitebsk Museum of Modern Art:a History of Creation and a Collection.1918–1941. – Minsk: Medisont, 2007. – 144 p.Mylivepage.ru
• Shkandrij, Myroslav (2019).Avant-Garde Art in Ukraine, 1910–1930: Contested Memories.Boston.{{cite book}}:CS1 maint: location missing publisher (link)
• Tedman, Gary. Soviet Avant Garde Aesthetics, chapter from Aesthetics & Alienation. pp 203–229. 2012. Zero Books.ISBN978-1-78099-301-0
• Tolstaya, Tatyana,The SquareArchived15 June 2015 at theWayback Machine,The New Yorker,12 June 2015
• Das weiße Rechteck. Schriften zum Film, herausgegeben von Oksana Bulgakowa. PotemkinPress, Berlin 1997,ISBN3-9804989-2-1
• The White Rectangle. Writings on Film.(In English and the Russian original manuscript). Edited by Oksana Bulgakowa. PotemkinPress, Berlin / Francisco 2000,ISBN3-9804989-7-2

External links

• Malevich works, MoMAArchived20 April 2016 at theWayback Machine
• Kazimir Malevich, Guggenheim Collection Online
• Kasimir Malevich Works Online, ArtcyclopediaArchived24 June 2016 at theWayback Machine
• Floirat, Anetta. 2016, The Scythian element of the Russian primitivism, in music and visual artsArchived5 March 2022 at theWayback Machine.Based on the work Goncharova, Malevich, Roerich, Stravinsky and Prokofiev
• Peter Brooke,Deux Peintres Philosophes – Albert Gleizes et Kasimir Malévitch and Quelques Réflexions sur la Littérature Actuelle du Cubisme,both Ampuis (Association des Amis d'Albert Gleizes) 1995
• History of Malevich-designed Perfume bottle of the eau de cologne "Severny"Archived12 May 2020 at theWayback Machine