{"id":224709,"date":"2025-05-15T08:41:44","date_gmt":"2025-05-15T08:41:44","guid":{"rendered":"https:\/\/www.museumtv.art\/artnews\/articles\/"},"modified":"2025-05-15T08:41:45","modified_gmt":"2025-05-15T08:41:45","slug":"tribute-to-malevich-90-years","status":"publish","type":"post","link":"https:\/\/www.museumtv.art\/en\/artnews\/artistes\/tribute-to-malevich-90-years\/","title":{"rendered":"Tribute to Malevich – 90 years"},"content":{"rendered":"\n

Kasimir Servernovitch Malevitch was born in Kiev in 1879 to Polish parents. Malevitch soon showed an interest in painting. It was not until 1904 that he began to receive artistic education. This displeased his father, who wanted him to become a priest. <\/p>\n\n\n\n

His<\/span> move to Moscow <\/span>brought<\/span> him<\/span> into<\/span> contact <\/span>with<\/span> the avant-garde. In <\/span>particular<\/span> the <\/span>famous<\/span> Vassily Kandinsky<\/a>, the <\/span>Russian<\/span> painter<\/span> and <\/span>father<\/span> of abstraction. Malevitch <\/span>took<\/span> part, <\/span>along<\/span> with<\/span> other<\/span> members<\/span> of the <\/span>Russian<\/span> avant-garde, in a <\/span>series<\/span> of exhibitions <\/span>between<\/span> 1910 and 1915, <\/span>including<\/span> \u2018The Jack of Diamonds\u2019 and \u2018The Tail of the <\/span>Donkey<\/span>\u2019. The <\/span>artist<\/span> drew<\/span> inspiration <\/span>from<\/span> many<\/span> styles, <\/span>including<\/span> Picasso, C\u00e9zanne and <\/span>Braque’s<\/span> cubism<\/span><\/a>, to <\/span>develop<\/span> an <\/span>idiosyncratic<\/span> style, <\/span>while<\/span> also<\/span> collaborating<\/span> with<\/span> poets<\/span> and <\/span>musicians<\/span>.<\/span><\/span> <\/span><\/p>\n\n\n

\n
\"Profile
Kasimir<\/span> Malevich<\/span>, <\/span><\/span>The <\/span>Woodcutter<\/span><\/span>, <\/span>oil<\/span> on <\/span>canvas<\/span>, 1912-1913, Amsterdam, <\/span>Stedelijk<\/span> Museum<\/span><\/span> <\/span><\/figcaption><\/figure><\/div>\n\n\n

The <\/span>origin<\/span> of <\/span>success<\/span><\/span> <\/span><\/h2>\n\n\n\n

In 1913, <\/span>Malevich<\/span> worked<\/span> on the costumes and set for <\/span>Alexei<\/span> Kroutchenykh<\/span> and Mikha\u00efl <\/span>Matiouchine’s<\/span> cubo-<\/span>futurist<\/span> opera<\/span> <\/span>Victory over the Sun<\/span><\/span>. The <\/span>cubist<\/span> staging<\/span>, <\/span>with<\/span> its<\/span> abstract <\/span>forms<\/span>, won over an audience of <\/span>mainly<\/span> Western <\/span>intellectuals<\/span>.<\/span><\/span> <\/span><\/p>\n\n\n

\n
\"6
Kasimir<\/span> Malevich<\/span>, <\/span><\/span>Costumes for Victory Under the Sun<\/span><\/span>, 1913<\/span><\/span> <\/span><\/figcaption><\/figure><\/div>\n\n\n

His research for the opera launched his search for abstraction, <\/span>characterised<\/span> by a radical <\/span>geometrisation<\/span> of form and construction. This gave rise to his famous Black Square on a White Background.<\/span><\/span> <\/span><\/p>\n\n\n

\n
\"His
Kasimir<\/span> Malevitch<\/span>, <\/span><\/span>Quadrangle, or Black Square on a White Background<\/span><\/span>, <\/span>oil<\/span> on <\/span>canvas<\/span>, 1915, Saint Petersburg, <\/span>Russian<\/span> Museum<\/span><\/span> <\/span><\/figcaption><\/figure><\/div>\n\n\n

This <\/span>work<\/span> was<\/span> exhibited<\/span> alongside<\/span> works<\/span> by <\/span>fourteen<\/span> artists<\/span>, <\/span>including<\/span> Malevich<\/span> and <\/span>his<\/span> thirty<\/span>-five <\/span>other<\/span> paintings<\/span>, at the <\/span><\/span>Last <\/span>Futurist<\/span> Exhibition 0.10.<\/span><\/span> This <\/span>event<\/span> took<\/span> place in Petrograd, <\/span>now<\/span> St Petersburg, in <\/span>December<\/span> 1915. <\/span>Kasimir<\/span> Malevich’s<\/span> paintings<\/span> were<\/span> brought<\/span> together<\/span> under<\/span> the banner of <\/span>Suprematism<\/span>. This <\/span>term<\/span>, <\/span>coined<\/span> by the <\/span>artist<\/span> in 1915, <\/span>is<\/span> described<\/span> in <\/span>his<\/span> brochure<\/span><\/span> From<\/span> Cubism<\/span> and <\/span>Futurism<\/span> to <\/span>Suprematism<\/span>: A New <\/span>Pictorial<\/span> Realism<\/span><\/span>. He <\/span>describes<\/span> Suprematism<\/span> as an <\/span>aesthetic<\/span> centred<\/span> on <\/span>form<\/span>, <\/span>detached<\/span> from<\/span> any<\/span> external<\/span> environment<\/span> or reality. The <\/span>purity<\/span> of <\/span>form<\/span> is<\/span> mastered<\/span> and <\/span>colour<\/span> is<\/span> worked<\/span> on <\/span>solely<\/span> for <\/span>its<\/span> own<\/span> sake<\/span>.<\/span><\/span> <\/span><\/p>\n\n\n\n

A <\/span>philosophy<\/span>, <\/span>Suprematism<\/span><\/span> <\/span><\/h2>\n\n\n\n

According<\/span> to the <\/span>artist<\/span> and <\/span>his<\/span> artistic<\/span> path<\/span>, <\/span>Suprematism<\/span> has <\/span>three<\/span> degrees<\/span>. Black, <\/span>colour<\/span> and white. <\/span>Illustrated<\/span> by <\/span>his<\/span> <\/span>Black Square on a White Background or Quadrangle<\/span><\/span>, <\/span><\/span>Red Square – <\/span>Pictorial<\/span> Realism<\/span> of a <\/span>Peasant<\/span> Woman<\/span> in <\/span>Two<\/span> Dimensions<\/span><\/span>, and <\/span>his<\/span> <\/span>White Square on a White Background<\/span><\/span>. This <\/span>principle<\/span>, <\/span>which<\/span> goes<\/span> beyond<\/span> mere<\/span> plastic expression, <\/span>is<\/span> conceived<\/span> as a <\/span>philosophical<\/span> approach<\/span> to painting. <\/span>Malevich<\/span> wrote<\/span> on <\/span>this<\/span> subject<\/span>:<\/span><\/span> <\/span><\/p>\n\n\n\n

\n

Suprematism<\/span> \u2018<\/span>is<\/span> not <\/span>only<\/span> a new <\/span>artistic<\/span> recipe<\/span>, <\/span>it<\/span> is<\/span> an <\/span>ontology<\/span>, a <\/span>revelation<\/span> of the <\/span>abyss<\/span> of <\/span>being<\/span>, <\/span>which<\/span> must <\/span>metamorphose<\/span> all <\/span>human<\/span> manifestations <\/span>from<\/span> top to <\/span>bottom<\/span>\u2019.<\/span><\/span> <\/span><\/p>\n<\/blockquote>\n\n\n

\n
\"Red
Kasimir<\/span> Malevitch<\/span>, <\/span><\/span>Red Square or <\/span>Pictorial<\/span> Realism<\/span> of a <\/span>Peasant<\/span> Woman<\/span> in <\/span>Two<\/span> Dimensions<\/span><\/span>, 1915, <\/span>oil<\/span> on <\/span>canvas<\/span>, 53 x 53 cm, Saint Petersburg, <\/span>Russian<\/span> Museum<\/span><\/span> <\/span><\/figcaption><\/figure><\/div>\n\n\n

This <\/span>idea<\/span> of the <\/span>disappearance<\/span> of the <\/span>subject<\/span> was<\/span> experimented<\/span> with<\/span> by <\/span>other<\/span> artists<\/span>, <\/span>such<\/span> as Mondrian<\/a> (1872-1944) <\/span>with<\/span> his<\/span> <\/span>Losange<\/span> with<\/span> four <\/span>yellow<\/span> lines<\/span><\/span>, and Kandinsky, for <\/span>whom<\/span> the <\/span>subject<\/span> became<\/span> secondary<\/span>. This <\/span>is<\/span> reflected<\/span> in the <\/span>numbering<\/span> of <\/span>his<\/span> works<\/span> as <\/span>titles<\/span>, <\/span>particularly<\/span> <\/span>Composition V.<\/span><\/span> Malevich<\/span> called<\/span> this<\/span> the \u2018<\/span>objectless<\/span> world<\/span>\u2019.<\/span><\/span> <\/span><\/p>\n\n\n\n

\n
\"Oil
Piet Mondrian, Losange avec quatre lignes jaunes, oil on canvas, 1933, New York, Museum of Modern Art <\/figcaption><\/figure>\n\n\n\n
\"Abstract
Vassily Kandinsky, Composition V, oil on canvas, 1911, private collection <\/figcaption><\/figure>\n<\/figure>\n\n\n\n

The White Square on a White Background<\/span><\/span> bears witness to a certain iconoclasm in the painter’s body of work, a reference to the Russian prophetic tradition. This work <\/span>is considered to be<\/span> the first monochrome in history. The <\/span>colour<\/span> white appeals to the concept of infinite space. This research into <\/span>monochromy<\/span> was revisited by Yves Klein in his <\/span><\/span>Blue <\/span>Monochro<\/span>me <\/span>(IKB 3)<\/span><\/span>, the <\/span>originality of which lies in the invention of a new shade of blue.<\/span><\/span> <\/span><\/p>\n\n\n

\n
\"White
Kasimir<\/span> Malevitch, <\/span><\/span>White Square on White Background<\/span><\/span>, <\/span>oil<\/span> on <\/span>canvas<\/span>, 1918, New York, Museum of Modern Art<\/span><\/span> <\/span><\/figcaption><\/figure><\/div>\n\n\n

Cubism and Fauvism were the first earthquakes in art, followed by Kandinsky’s abstraction. Malevich pushed back the boundaries with the creation of Suprematism, which brought together several Russian artists such as Lazar Lissitzky and Olga Rozanova. <\/p>\n\n\n\n

From Suprematism to the figurative<\/h2>\n\n\n\n

Malevitch<\/span> fell<\/span> into<\/span> considerable<\/span> disrepute<\/span> at the end of <\/span>his<\/span> career<\/span>. The <\/span>painter<\/span> returned<\/span> to figurative art. He <\/span>conformed<\/span> to the <\/span>demands<\/span> of the Soviet <\/span>regime<\/span>. He <\/span>died<\/span> of cancer in 1935. <\/span>His<\/span> emblematic<\/span> <\/span>Black Square<\/span><\/span> became<\/span> the <\/span>backdrop<\/span> for <\/span>his<\/span> state <\/span>funeral<\/span>.<\/span><\/span> <\/span><\/p>\n\n\n

\n
\"4
Kasimir<\/span> Malevitch<\/span>, <\/span><\/span>Sportsmen<\/span><\/span>, 1928-1930, St Petersburg, <\/span>Russian<\/span> Museum<\/span><\/span> <\/span><\/figcaption><\/figure><\/div>\n\n\n

His<\/span> work continues to be<\/span> admired and a source of inspiration for many<\/span> artists, including Mark Rothko<\/a>.<\/span> <\/span><\/p>\n\n\n\n

90 years after his death, Museum TV pays tribute to him and invites you to learn more about the various art movements that led to the birth of Suprematism on our video-on-demand platform my.museumtv.art<\/a> and by watching Museum TV<\/a>.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Kasimir Servernovitch Malevitch was born in Kiev in 1879 to Polish parents. Malevitch soon showed an interest in painting. It was not until 1904 that he began to receive artistic education. This displeased his father, who wanted him to become a priest. His move to Moscow brought him into contact with the avant-garde. In particular […]<\/p>\n","protected":false},"author":104,"featured_media":224696,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1938],"tags":[2543,2544,2424,2539,2545,2546],"group":[547],"support":[12],"class_list":["post-224709","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-abstraction-en","tag-malevitch-en","tag-museum-tv-en","tag-peinture-en","tag-russia","tag-suprematism","group-portraits","support-artiste"],"yoast_head":"\nTribute to Malevich - 90 years - Museum TV<\/title>\n<meta name=\"description\" content=\"Malevich passed away 90 years ago, and Museum TV pays tribute to him with a look back at the artistic career of the father of Suprematism.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.museumtv.art\/en\/artnews\/artistes\/tribute-to-malevich-90-years\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tribute to Malevich - 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A gauche une photo de Casimir Malevitch. 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