Malevich

"They Dipped Their Brushes into Virtually Every Paint Can"

Natella Voiskounski

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
#3 2007 (16)

“Crossroads: Modernism in Ukraine, 1910-1930”, the first major exhibition of early 20th century Ukrainian art was shown in Chicago at the Chicago Cultural Centre, and in New York at the new Ukrainian Museum. Featuring the best of high modernism from Ukraine, the exhibition included more than 70 rarely seen works by 21 Ukrainian artists; each of the works was shown for the first time in the United States. The avant-garde, art nouveau, impressionism, expressionism, futurism and constructivism movements were presented in a new light. Americans - the general public and art critics alike - were equally enthusiastic about the exhibition.

They Dipped Their Brushes into Virtually Every Paint Can

“Crossroads: Modernism in Ukraine, 1910-1930”, the first major exhibition of early 20th century Ukrainian art was shown in Chicago at the Chicago Cultural Centre, and in New York at the new Ukrainian Museum. Featuring the best of high modernism from Ukraine, the exhibition included more than 70 rarely seen works by 21 Ukrainian artists; each of the works was shown for the first time in the United States.

"They Dipped Their Brushes into Virtually Every Paint Can"

Natella Voiskounski

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue N2. USA–RUSSIA: ON THE CROSSROADS OF CULTURES

“Crossroads: Modernism in Ukraine, 1910-1930”, the first major exhibition of early 20th century Ukrainian art was shown in Chicago at the Chicago Cultural Centre, and in New York at the new Ukrainian Museum. Featuring the best of high modernism from Ukraine, the exhibition included more than 70 rarely seen works by 21 Ukrainian artists; each of the works was shown for the first time in the United States. The avant-garde, art nouveau, impressionism, expressionism, futurism and constructivism movements were presented in a new light. Americans - the general public and art critics alike - were equally enthusiastic about the exhibition.

"They Dipped Their Brushes into Virtually Every Paint Can

“Crossroads: Modernism in Ukraine, 1910-1930”, the first major exhibition of early 20th century Ukrainian art was shown in Chicago at the Chicago Cultural Centre, and in New York at the new Ukrainian Museum. Featuring the best of high modernism from Ukraine, the exhibition included more than 70 rarely seen works by 21 Ukrainian artists; each of the works was shown for the first time in the United States.

From Giotto to Malevich - "Mutual Admiration"

Caterina Cardona, Head of Cultural Activities of Scuderie del Quirinale

Article: 
INTERNATIONAL PANORAMA
Magazine issue: 
Special issue. ITALY-RUSSIA: ON THE CROSSROADS OF CULTURES

The "Scuderie del Quirinale” in Rome is presenting the first half of a major exhibition "From Giotto to Malevich - Mutual Admiration” that is a highlight of a joint programme "Russia and Italy: A Relationship over the Centuries”. The show, which from February 7 will be on display in Moscow at the Pushkin State Museum of Fine Arts, has been organised by major museums in both countries, with support from the Ministries of Culture and Internal Affairs of both Italy and Russia.

From Giotto to Malevich - "Mutual Admiration"

The "Scuderie del Quirinale” in Rome is presenting the first half of a major exhibition "From Giotto to Malevich - Mutual Admiration” that is a highlight of a joint programme "Russia and Italy: A Relationship over the Centuries”. The show, which from February 7 will be on display in Moscow at the Pushkin State Museum of Fine Arts, has been organised by major museums in both countries, with support from the Ministries of Culture and Internal Affairs of both Italy and Russia.

A LINE THROUGH TIME FROM KAZIMIR MALEVICH TO JULIE MEHRETU

Natella Voiskounski

Article: 
“GRANY” FOUNDATION PRESENTS
Magazine issue: 
#1 2011 (30)

The exhibition “On Line: Drawing Through the 20th Century” was quite a notable event in New York’s MOMA 2010-2011 calendar not so much because of the eye-catching works on display, but rather, for its cognitive value. The title given to it says much to an attentive and interested viewer who would recognize Kandinsky’s essay with the same title; besides, it uses a term from the Internet, a kind of a homonym that is familiar to everybody.
The second part of the title marks the scope of the introduction within a century-long period of transformation of drawing, its “groundbreaking history of an art form”, starting with revolutionary innovative processes at the beginning of the 20th century and following its development along the same lines up to the present day; it is formulated by “pushing the line of drawing into real space, expanding its relationship to gesture and form and invigorating its links with painting and sculpture, photography and film, and, notably, dance and performance”.

A LINE THROUGH TIME FROM KAZIMIR MALEVICH TO JULIE MEHRETU

The line conquered everything and destroyed the last citadels of painting - colour, tone, texture, and surface.

Alexander Rodchenko

DRAWING TECHNIQUE: From Orest Kiprensky to Kazimir Malevich

Irina Shumanova, Yevgenia Ilyukhina

Article: 
CURRENT EXHIBITIONS
Magazine issue: 
#1 2011 (30)

Pencil drawing is one of the oldest art forms, the source of all visual arts, recording the inception of an idea and the stages of its further development. But drawing also has a life of its own as an independent art form with a distinctive language, specific rules and history. Pencils come in many different varieties - silver, lead, graphite, black chalk, wax, coloured pencils, lithographic pencils and other types - and the word also refers to a large number of similar media which can be categorized as the techniques of “dry drawing”, like charcoal, sanguine and sauce. There is an almost limitless variety of techniques involving the use of these materials, and they serve to show off a particular artist’s individuality, sense of form, innate talent and level of skills. A drawing in pencil, charcoal, sanguine or sauce is the best reflection of its creator’s temperament and character. From the vast variety of pencil and pencil-related techniques every epoch chooses those that suit it best. The age of classicism treasured the austere beauty of linear drawing, romanticism - the contrasts and the picturesque quality of strokes; for the “Peredvizhniki” (Wanderers) artists, pencils were “modest workers”, and the modernist movement re-invented the selfsufficiency of lines and the aesthetic value of the process of drawing as such.

DRAWING TECHNIQUE: From Orest Kiprensky to Kazimir Malevich

The Tretyakov Gallery thanks Ivan Kardashidi for support of the exhibition

Anna Antonova, Lydia Tornstensen and Yevgenia Plotnikova also contributed to the publication.

Pencil drawing is one of the oldest art forms, the source of all visual arts, recording the inception of an idea and the stages of its further development. But drawing also has a life of its own as an independent art form with a distinctive language, specific rules and history.

Pavel Filonov: Full of Beauty and Suffering

John E. Bowlt

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#3 2013 (40)

The eleventh issue of the journal Experiment is a collection of articles on Pavel Filonov edited by Nicoletta Misler, Irina Menshova and John E. Bowlt. Published in Los Angeles in 2005, this issue is dedicated to the memory of Evgeny Kovtun (1928–1996), who devoted his life to the study of modern Russian art and to the art of Pavel Filonov in particular.

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THE ELEVENTH ISSUE OF THE JOURNAL EXPERIMENT IS A COLLECTION OF ARTICLES ON PAVEL FILONOV EDITED BY NICOLETTA MISLER, IRINA MENSHOVA AND JOHN E. BOWLT. PUBLISHED IN LOS ANGELES IN 2005, THIS ISSUE IS DEDICATED TO THE MEMORY OF YEVGENY KOVTUN (1928-1996), WHO DEVOTED HIS LIFE TO THE STUDY OF MODERN RUSSIAN ART AND TO THE ART OF PAVEL FILONOV IN PARTICULAR.

The Almanac "Unovis"- A Chronicle of Malevich's Vitebsk Experiment

Tatiana Goriacheva

Article: 
EXCLUSIVE PUBLICATIONS
Magazine issue: 
#3 2013 (40)

IT WAS IN JUNE 1920 THAT THE GROUP UNOVIS ("AFFIRMERS OF THE NEW ART"), CENTRED AROUND THE FIGURE OF MALEVICH, ISSUED FIVE TYPED COPIES OF THE ALMANAC OF THE SAME NAME, CONTAINING ARTICLES, MANIFESTOES, DECLARATIONS AND DRAWINGS BY ITS MEMBERS. IT IS KNOWN THAT ONLY TWO COPIES HAVE SURVIVED: ONE OF THEM WAS PRESENTED BY MALEVICH TO DAVID SHTERENBERG, AND THEN SOLD BY HIS HEIRS TO A PRIVATE COLLECTOR; THE OTHER, WHICH HAD BELONGED TO EL LISSITSKY, WAS DONATED TO THE DEPARTMENT OF MANUSCRIPTS OF THE TRETYAKOV GALLERY BY S. LISSITZKY-KYUPERS IN 1959. THERE IS NO INFORMATION ABOUT THE OTHER THREE COPIES.

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IT WAS IN JUNE 1920 THAT THE GROUP UNOVIS ("AFFIRMERS OF THE NEW ART"), CENTRED AROUND THE FIGURE OF MALEVICH, ISSUED FIVE TYPED COPIES OF THE ALMANAC OF THE SAME NAME, CONTAINING ARTICLES, MANIFESTOES, DECLARATIONS AND DRAWINGS BY ITS MEMBERS. IT IS KNOWN THAT ONLY TWO COPIES HAVE SURVIVED: ONE OF THEM WAS PRESENTED BY MALEVICH TO DAVID SHTERENBERG, AND THEN SOLD BY HIS HEIRS TO A PRIVATE COLLECTOR; THE OTHER, WHICH HAD BELONGED TO EL LISSITSKY, WAS DONATED TO THE DEPARTMENT OF MANUSCRIPTS OF THE TRETYAKOV GALLERY BY S. LISSITZKY-KYUPERS IN 1959.

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