Kazimir malevich biografia corta

Kazimir malevich biografia corta

Black square and red square

Comenzó a cultivar su inclinación por la pintura en Kiev, en 1896, su familia se traslada a Kursk. Se emplea como delineante en el ferrocarril y pinta bajo la influencia de los realistas decimonónicos rusos conocidos como «los ambulantes», cuya obra sólo conoce por reproducciones. Pronto adopta un repertorio posimpresionista, aunque la datación de las obras de esta época es muy confusa por tratarse a menudo de réplicas posteriores hechas por el propio artista, en las que cabe sospechar que alteró fechas y hasta rasgos estilísticos.
Desde 1910 expone con los grupos de La Sota de Diamantes, la Unión de la Juventud de San Petersburgo y El Rabo del Asno, en los que coincide con todos los grandes de la vanguardia rusa: Tatlin, Stepanova, Chagall, los hermanos Burliuk. Durante este periodo, Cézanne es la influencia dominante, junto a ciertos elementos decorativos de estirpe simbolista y las artes populares rusas en las pinturas que se ha dado en llamar primitivistas. El Reposo de la buena sociedad, 1908

kazimir malevich art movement

El suprematismo fue la propuesta más radical entre los ismos de las vanguardias históricas al comienzo del siglo XX. Ninguna otra poética puso contra las cuerdas a la pintura, hasta el límite, reducida a representar un cuadrado negro; o bien, formas monocromas elementales, como el círculo, el cuadrado y la cruz. Después, no solo la pintura sino el arte mismo quedó ante la expectativa de reinventarse mientras asumía su estado epigonal de supervivencia.
Sin embargo, otras telas suprematistas de este periodo dan cuenta de su cercanía con las investigaciones sobre la abstracción de Kandinsky, respecto a las que supondrían un reduccionismo estricto a las formas geométricas, eliminando su lirismo. Pero no su dinamismo rítmico, y con una gama de colores amplia y matizada, lo que explicaría las diversas opciones más y menos puristas planteadas posteriormente en el grupo De Stijl en pinturas y en propuestas arquitectónicas, también ensayadas por Malévich, como podemos ver aquí en Arquitectón, 1923, casi indistinguible de piezas coetáneas de El Lissitzky, entonces integrante del grupo UNOVIS.

white on whitepainting by kazimir malevich

Kazimir Severinovich Malevich[nb 1] (23 February [O.S. 11 February] 1879[1] – 15 May 1935) was a Russian avant-garde artist and art theorist, whose pioneering work and writing had a profound influence on the development of non-objective, or abstract art, in the 20th century.[2][3][4][5] Born in Kiev to an ethnic Polish family, his concept of Suprematism sought 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»[6] and spirituality.[7][8] Malevich is considered to be part of the Ukrainian avant-garde (together with Alexander Archipenko, Vladimir Tatlin, Sonia Delaunay, Aleksandra Ekster, and David Burliuk) that was shaped by Ukrainian-born artists who worked first in Ukraine and later over a geographical span between Europe and America.[9][10]
Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism, and after visiting Paris in 1912, Cubism. Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His Black Square (1915), a black square on white, represented the most radically abstract painting known to have been created so far[11] and drew «an uncrossable line (…) between old art and new art»;[12] 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.[13] In addition to his paintings, Malevich laid down his theories in writing, such as «From Cubism and Futurism to Suprematism» (1915)[14] and The Non-Objective World: The Manifesto of Suprematism (1926).[15][16]

wikipedia

Kazimir Severinovich Malevich[nb 1] (23 February [O.S. 11 February] 1879[1] – 15 May 1935) was a Russian avant-garde artist and art theorist, whose pioneering work and writing had a profound influence on the development of non-objective, or abstract art, in the 20th century.[2][3][4][5] Born in Kiev to an ethnic Polish family, his concept of Suprematism sought 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»[6] and spirituality.[7][8] Malevich is considered to be part of the Ukrainian avant-garde (together with Alexander Archipenko, Vladimir Tatlin, Sonia Delaunay, Aleksandra Ekster, and David Burliuk) that was shaped by Ukrainian-born artists who worked first in Ukraine and later over a geographical span between Europe and America.[9][10]
Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism, and after visiting Paris in 1912, Cubism. Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His Black Square (1915), a black square on white, represented the most radically abstract painting known to have been created so far[11] and drew «an uncrossable line (…) between old art and new art»;[12] 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.[13] In addition to his paintings, Malevich laid down his theories in writing, such as «From Cubism and Futurism to Suprematism» (1915)[14] and The Non-Objective World: The Manifesto of Suprematism (1926).[15][16]

Kazimir malevich biografia corta online

Acerca del autor

admin

Ver todos los artículos