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Kazimir Malevich
Self-Portrait
mk52
1908
Gouachon on paper
27x26.8cm
Tret yakov Gallery,Moscow
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Kazimir Malevich
Boy with Knapsack-Color Mases in the Fourth Dimensin
mk68
Oil on canvas
New York
Museum of Modern Art
1915
Russia
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Kazimir Malevich
Suprematist Composition
mk87
c.1914-1916
Oil on canvas
71x44.4cm
New York,
The Museum of Modern Art
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Kazimir Malevich
Knife-Grinder
mk87
1912
Oil on canvas
79.5x79.5cm
New Haven,Yale University Art Gallery
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Kazimir Malevich
Flower Girl,
Flower Girl, 1903
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Kazimir Malevich
Landscape with a Yellow House
Landscape with a Yellow House, 1906
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Kazimir Malevich
Bathers,
Bathers, 1908
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Kazimir Malevich
Winter,
Winter, 1909
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Kazimir Malevich
Head of a Peasant Girl
Head of a Peasant Girl, 1912-1913
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Kazimir Malevich
Bureau and Room
Bureau and Room, 1913
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Kazimir Malevich
Cow and Fiddle
Cow and Fiddle, 1913
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Kazimir Malevich
Englishman in Moscow,
Englishman in Moscow, 1914
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Kazimir Malevich
Black Circle, signed 1913
Black Circle, signed 1913, painted 1915
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Kazimir Malevich
Suprematism
Suprematism (Self-Portrait), 1916
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Kazimir Malevich
Suprematism, Museum of Art, Krasnodar
Suprematism, Museum of Art, Krasnodar 1916
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Kazimir Malevich
Suprematist Composition White on White,
Suprematist Composition: White on White, 1917
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Kazimir Malevich
Suprematism
Suprematism, 1921-1927
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Kazimir Malevich
Boy
Boy, 1928-1932
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Kazimir Malevich
Red cavalry
Red-cavalry, 1928-1932
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Kazimir Malevich
Summer Landscape,
Summer Landscape, 1929
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| Kazimir Malevich
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1878-1935
Russian painter, printmaker, decorative artist and writer of Ukranian birth. One of the pioneers of abstract art, Malevich was a central figure in a succession of avant-garde movements during the period of the Russian revolutions of 1905 and 1917 and immediately after. The style of severe geometric abstraction with which he is most closely associated, SUPREMATISM, was a leading force in the development of CONSTRUCTIVISM, the repercussions of which continued to be felt throughout the 20th century. His work was suppressed in Soviet Russia in the 1930s and remained little known during the following two decades. The reassessment of his reputation in the West from the mid-1950s was matched by the renewed influence of his work on the paintings of Ad Reinhardt and on developments
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