Kazimir Malevich Paintings

A LOOK AT

THE LIFE AND ART OF KAZIMIR MALEVICH

Artists such as Konstantin Korovin and Leonid Pasternak taught him the painting techniques of various movements such as Impressionism and post-Impressionism at the Moscow School of Painting, Sculpture, and Architecture.

EARLY LIFE

Newly made acquaintances such as David Burliuk, Wassily Kandinsky, and Mikhail Larionov started to have a significant influence on Malevich’s art, as it began to steer towards a more Avant-Garde aesthetic.

MATURE PERIOD

Kazimir Malevich sought to apply Suprematism’s theories to the new order of the state by promoting the utilization of Avant-Garde artworks in service of the state and its citizens in his manuscript On New Systems in Art.

SUPREMATISM

Upon returning from his trip to the West in 1930, he was detained and questioned about his personal ideological beliefs. Upon his arrest, his friends burned many of his manuscripts as a safety precaution.

LATER YEARS

His focus on dynamic and geometric forms and Non-objective artworks were highly influential on artists such as El Lissitzky, Alexander Rodchenko, and Lyubov Popova.

LEGACY

A CLOSER LOOK AT THE PAINTINGS OF KAZIMIR MALEVICH

Milda Victurina, an art historian and radiologist, has studied and analyzed Malevich’s paintings and has made certain observations about his painting technique, such as his technique of layering colors to produce various color spots.

ARTISTIC STYLE

Malevich’s paintings embodied aesthetic ideals within the Russian Avant-Garde movement that would inspire Solomon R. Guggenheim to found the Museum of Non-Objective Painting in 1939.

POSTHUMOUS EXHIBITIONS

Five of Malevich’s artworks, which he had left in Berlin upon his hasty exit, and which the Stedelijk Museum had subsequently acquired, were given back to the Malevich family heirs in 2008.

ART MARKET

As both a teacher and artist, he sought to disrupt what he considered to be a bourgeois grip on the art world. His disciples will even state that he exceeded Matisse and Picasso in his artistic efforts.

ARTISTIC BELIEFS

Any artwork that was not regarded by the state as expressing “reality” were deemed “degenerate” and consequently, many of his works were confiscated, and he was prohibited from producing or exhibiting any works of that nature.

THE PAINTING BAN