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  • Kazimir Severinovich Malevich
    Feb 23, 1879 - May 15, 1903
  • Portrait of I.V.Klyun (Klyunkov) - Kazimir Malevich was a Russian painter and art theoretician of Polish descent, pioneer of geometric abstract art and the originator of the Avant-garde Suprematist movement, he was the founder and leading artist of the Suprematist movement, and one of Russia's best-known modern painters. Malevich changed his style several times, from Impressionism to Symbolism, and from Fauvism to Kubism, or Cubo-Futurism.
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Portrait of I.V.Klyun (Klyunkov)
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  • Portrait of I.V.Klyun (Klyunkov)

  • Kazimir Severinovich Malevich
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  • 1913
    Oil on canvas
    112 x 70 cm
    The Russian Museum, St. Petersburg Russia.

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Average Rating: stars Currently rated 4.00, based on 1 reviews.
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  • stars
  • from Netherlands.
  • This is a great painting from Malevich' Cubo-Futuristic period. Mr. Kaizhou Ou c.s. did a very good job in reproducing it, and his service has been excellent and quick.

Other paintings by Kazimir Severinovich Malevich:

Cow and Fiddle
Cow and Fiddle
Peasant Woman with Buckets
Peasant Woman with Buckets
Apples Trees in Blossom
Apples Trees in Blossom
Kazimir Severinovich Malevich(1878 - 1935), founder of the Suprematist school of abstract painting.

Kazimir Severinovich Malevich was initially a follower of Impressionism. He was influenced by Pablo Picasso and Cubism and became a member of the Jack of Diamonds group, whose members were the leading exponents of avant-garde art in pre - World War I Russia. According to the Suprematists, each economic mode of production generated not only a ruling class but also an official artistic style supported by that dominant social class. Deviations from that official style were the products of subordinate classes. All art, prior to the rule of the proletariat, therefore, manifested the ideology of some class. But the revolution would bring about the destruction not merely of the bourgeoisie, but of all classes as such. Consequently, the art of the proletarian revolution must be the expression of not merely another style but of absolute, eternal, "supreme" values.

Constructivism was brought into Soviet avantguard architecture primarily by Vladimir Tatlin and Malevich. Malevich's "Arkhitektonica," Tatlin's Monument to the Third International (the "Tatlin Tower"), and El Lissitsky's "Prouns" shaped in large measure the conceptualizations of the modernist architects as they sought a means to combine painting, sculpture, and architecture. Tatlin's stress on utilitarianism was challenged by Malevich's Suprematism, which decried the emphasis of technology in art and argued that artists must search for "supreme" artistic values that would transform the ideology of the people. Malevich thus contrasted the work of engineers, whose creations exhibited simple transitory values, with aesthetic creativity, which he proclaimed produced supreme values. Malevich warned: "If socialism relies on the infallibility of science and technology, a great disappointment is in store for it because it is not granted to scientists to foresee the 'course of events' and to create enduring values" (Malevich, p. 36). His "White on White" carried Suprematist theories to their logical conclusion. With the turn against modern art under Josef Stalin, Malevich lost influence and died in poverty and oblivion.