Kazimir Severinovich Malevich

Birth placeKiev, Ukraine Birth date1879-1935

Kazimir Malévich, born in Kiev in 1878 and died in St. Petersburg in 1935, was the supreme representative of suprematism, one of the main currents defenders of geometric abstraction at the beginning of the 20th century in Russia in order to find "The supremacy of pure sensibility" in art.

He attended painting classes in Kiev in 1904. In Moscow in 1910 Mikhail Larionov invited him to participate in the exhibition Sota de Diamantes and in 1912 he participated in the formation of El Rabo de Burro. During these years Malévich's art evolved from an aesthetic close to Post-Impressionism towards Cubism and later Futurism. In 1915 his Black Square (Moscow, State Tretyakov Gallery) was exhibited in the exhibition 0. The last futuristic exhibition of painting and with this motive he published Del cubismo y el futururismo al suprematismo, where he summarized his new artistic theory. From that moment his art focused on the representation of geometric figures, among which the square predominated, on a white background. During the following year he worked with other artists in the magazine Supremus. Little by little the process of reduction of pictorial elements in his compositions was accentuated until arriving at the series of White on white of 1917-1918.

After the Revolution of 1917, Malévich became an active member of the revolutionary artistic committees and participated in the celebrations of the first anniversary of the Revolution. In 1919 he accepted a teaching post at the Vitebsk School of Art, directed by Marc Chagall, and took over the management of the center during his absence. During the following years, Malevich focused on teaching, on his writings on art and on the creation of the group Unovis (The Heralds of the New Art). After being dismissed at Vitebsk in 1922, he settled down with some students in St. Petersburg, where he worked at the Institute of Artistic Culture (Injuk). The work of the institute was first exhibited in Russia and then in other countries such as Germany, where he visited the Bauhaus. At the end of his life he returned to figuration.
 

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