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Museum of Modern Art
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The Museum of Modern Art is an art museum located in Midtown Manhattan in New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA has been important in developing and collecting modernist art, and is identified as one of the largest and most influential museums of modern art in the world. The MoMA Library includes approximately 300,000 books and exhibition catalogs, over 1,000 periodical titles, the archives holds primary source material related to the history of modern and contemporary art. The idea for The Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller and they became known variously as the Ladies, the daring ladies and the adamantine ladies. They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7,1929, nine days after the Wall Street Crash. Abby had invited A. Conger Goodyear, the president of the board of trustees of the Albright Art Gallery in Buffalo, New York. At the time, it was Americas premier museum devoted exclusively to art. One of Abbys early recruits for the staff was the noted Japanese-American photographer Soichi Sunami. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees, Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, under Barrs guidance, the museums holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne. Abbys husband was opposed to the museum and refused to release funds for the venture. Nevertheless, he donated the land for the current site of the museum, plus other gifts over time. During that time it initiated many more exhibitions of noted artists, the museum also gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars, Boy Leading a Horse was briefly contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the exhibition, Indian Art of the United States. His brother, David Rockefeller, also joined the board of trustees in 1948. David subsequently employed the noted architect Philip Johnson to redesign the garden and name it in honor of his mother
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Russian avant-garde
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The term covers many separate, but inextricably related, art movements that flourished at the time, namely Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum and Neo-primitivism. Given that many artists involved were born or grew up in what is present day Belarus and Ukraine. In 2007, the Modern Museum of Art MoMA in New York, devoted an exhibition entirely to the *Lost Vanguard, Soviet Architecture, beyond Symbolism and Surrealism, Alexei Remizovs Synthetic Art, Northwestern University Press,2010. ISBN 0-8101-2617-6 Russian avant-garde on YouTube - video Kovalenko, G. F, the Russian Avant-Garde of 1910-1920 and Issues of Expressionism. Vitebsk Museum of Modern Art, a history of creation and a collection, -144 p. “Encyclopedia of Russian Avangard. Architecture Vol.1 A-K, Vol.2 L-Z Biography”, sarab’yanov A. D. Mosсow,2013 Surviving Suprematism, Lazar Khidekel. Judah L. Magnes Museum, Berkeley CA,2004 Lazar Khidekel, prestel,2014 Why did Soviet Photographic Avant-garde decline. T
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Vladimir, Russia
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Vladimir is a city and the administrative center of Vladimir Oblast, Russia, located on the Klyazma River,200 kilometers to the east of Moscow. It is served by a railway and the M7 motorway, Vladimir was one of the medieval capitals of Russia, with significant buildings surviving from the 12th century. Two of its Russian Orthodox cathedrals, a monastery, and associated buildings have been designated as among the White Monuments of Vladimir and Suzdal, in the past, the city was also known as Vladimir-on-Klyazma and Vladimir-Zalessky, to distinguish it from another Vladimir in Volhynia. Traditionally, the date of Vladimir has been acknowledged as 1108. This view attributes the founding of the city, and its name, to Vladimir Monomakh and it is named there as Volodymyr. On the 17th centuries maps, it was identified as Wolodimer, being established long after the city of Volodymyr in Volhynia, initially it was named Vladimir-on-Klyazma. In 1958, the 850th anniversary of the city foundation was celebrated, in the 1990s, a new opinion developed that the city is older than this. The neighboring town of Suzdal, for instance, was mentioned in 1024 and its 12th-century inhabitants alluded to Vladimir as a young town and treated its rulers with arrogance. In the words of a chronicle, they said that the people of Vladimir were their kholops. In the seniority conflicts of the 12th and early 13th centuries, Vladimir was repeatedly described as a young town compared to Suzdal, nevertheless, the Charter of Vladimir, the basic law of the city passed in 2005, explicitly mentions 990 as the date of the citys foundation. The citys most historically significant events occurred after the turn of the 12th century, under Dolgorukys son, Andrey Bogolyubsky, the city became the center of the Vladimir-Suzdal Principality. It had a Golden Age, which lasted until the Mongol invasion of Rus in 1237, during this time, Vladimir enjoyed immense growth and prosperity. Andrey oversaw the building of the citys Golden Gates and the Dormition Cathedral, in 1164, Andrey attempted to establish a new metropolitanate in Vladimir, separate from that of Kiev. He was rebuffed by the Patriarch of Constantinople, scores of Russian, German, and Georgian masons worked on Vladimirs white stone cathedrals, monastery, towers, and palaces. Unlike any other buildings, their exterior was elaborately carved with high relief stone sculptures. Only three of these edifices stand today, the Dormition Cathedral, the Cathedral of Saint Demetrius, and they are included among the White Monuments of Vladimir and Suzdal, designated as a UNESCO World Heritage Site. During Andreys reign, a palace in Bogolyubovo was built, as well as the world-famous Church of the Intercession on the Nerl. Andrey was assassinated at his palace at Bogolyubovo in 1175, Vladimir was besieged by the Mongol-Tatars of the Golden Horde under Batu Khan
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Konstantin Yuon
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Konstantin Fyodorovich Yuon or Juon was a noted Russian painter and theatre designer associated with the Mir Iskusstva. Later, he co-founded the Union of Russian Artists and the Association of Artists of Revolutionary Russia, Yuon was born in Moscow to the family of a banking clerk of Swiss-Russian origin. His brother Paul Juon was a notable composer, from 1892 to 1898 he studied at the Moscow School of Painting, Sculpture and Architecture where Konstantin Savitsky and Konstantin Korovin were among his distinguished teachers. After graduating from the Moscow Art School he took lessons from Valentin Serov. During several trips to Western Europe, particularly in Paris, he acquainted with the cityscapes of Camille Pissarro and other Impressionists. In 1900 he opened the first private painting and drawing school in Moscow, some noted Russian painters received art education in the school. Later he taught in Leningrad Academy of Arts and the Surikov Art Institute in Moscow and his studio in Moscow was widely used by other painters. He designed sets for plays at the Moscow Art Theatre and the Maly Theater and he also contributed sets for operas. In the Soviet era, Yuon was the director of the Research Institute of the Academy of Arts and he won a Stalin Prize, received the Order of Lenin and other orders and medals. He died in Moscow on April 11,1958, Konstantin Yuon started as an Impressionist landscape and genre painter with a Symbolist note. Among the impressionist landscapes are The Tverskoy Boulevard and To the Trinity, later he toyed with the ideas of lyrical landscape mixed with the imitations of Palekh miniature and Icon arts. To the end of his life he became a social realism artist. List of Russian artists Biography and art samples Ivanov, Sergei
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Lyubov Popova
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Lyubov Sergeyevna Popova was a Russian avant-garde artist, painter and designer. Lyubov Sergeyevna had two brothers and a sister, Sergei was the eldest, then Lyubov, Pavel and Olga, Pavel became a philosopher and the guardian of his sisters artistic legacy. She grew up with a strong interest in art, especially Italian Renaissance painting, at eleven years old she began formal art lessons at home, she was first enrolled in Yaltinskaias Womens Gymnasium, then in Arsenevas Gymnasium in Moscow. By the age of 18 she was studying with Stanislav Zhukovsky, in 1912 to 1913, she began attending the studios of the Cubist painters Henri Le Fauconnier and Jean Metzinger. In 1909 she traveled to Kiev, then in 1910 to Pskov, the following year she visited other ancient Russian cities, including St. Petersburg, to study icons. In 1912 she worked in a Moscow studio known as The Tower with Ivan Aksenov and Vladimir Tatlin, in 1912–1913 she studied art with Nadezhda Udaltsova in Paris, where she met Alexander Archipenko and Ossip Zadkine in 1913. After returning to Russia that same year, she worked with Tatlin, Udaltsova, in 1914 she traveled in France and Italy at the development of Cubism and Futurism. Popova was one of the first female pioneers in Cubo-Futurism, through a synthesis of styles she worked towards what she termed painterly architectonics. From 1914–1915 her Moscow home became the meeting-place for artists and writers, in 1914–1916 Popova together with other avant-garde artists contributed to the two Knave of Diamonds exhibitions, in Petrograd Tramway V and the 0.10, The Store in Moscow. Her painting The Violin of 1914 suggests the development from Cubism towards the painterly architectonics series of 1916–1918 and this series defined her distinct artistic trajectory in abstract form. The canvas surface is a field of overlapping and intersecting angular planes in a constant state of potential release of energy. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future, color is used as the iconic focus, the strong primary color at the center drawing the outer shapes together. The creation of a new kind of painting was part of the urge of the Russian avant-garde to remake the world. The term supreme refers to a non-objective or abstract world beyond that of everyday reality. However, there was a tension between those who, like Malevich, saw art as a spiritual quest, and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the aims of the Revolution working in poster, book design, fabric and theatre design, at 0.10 she had exhibited a number of figurative painted cardboard reliefs in a cubist derived style. Popovas superimposed planes and strong color have the presence of actual space. In 1918 Popova married the art historian Boris Eding, and gave birth to a son, von Eding died the following year of typhoid fever
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Art Nouveau
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Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants. English uses the French name Art Nouveau, according to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, artists desired to combine the fine arts and applied arts, even for utilitarian objects. By 1910, Art Nouveau was already out of style and it was replaced as the dominant European architectural and decorative style first by Art Deco and then by Modernism. Art Nouveau took its name from the Maison de lArt Nouveau, in France, Art Nouveau was also sometimes called by the British term Modern Style due to its roots in the Arts and Crafts Movement, Style moderne, or Style 1900. It was also sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, in Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the arts and crafts movement led by Charles Rennie Mackintosh in Glasgow, as the Glasgow style. In Italy, because of the popularity in Italy of designs from Londons Liberty & Co department store, in the United States, due to its association with Louis Comfort Tiffany, it was often called the Tiffany style. In Germany and Scandinavia, a style emerged at about the same time, it was called Jugendstil. In Catalonia the related style was known as Modernisme, in Spain as Modernismo, Arte joven, in Russia, it was called Modern, and Jugendstil, and Nieuwe Kunst in the Netherlands. Some names refer specifically to the forms that were popular with the Art Nouveau artists, Stile Floreal in France, Paling Stijl in the Netherlands. The new art movement had its roots in Britain, in the designs of William Morris. Early prototypes of the include the Red House of Morris. In France, the style combined several different tendencies, in architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. For each function its material, for each material its form and this book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaudí. The French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration, I believe that before everything a painting must decorate, Denis wrote in 1891. The choice of subjects or scenes is nothing and it is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions
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Futurism
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Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. It glorified modernity and aimed to liberate Italy from the weight of its past, Cubism contributed to the formation of Italian Futurisms artistic style. Important Futurist works included Marinettis Manifesto of Futurism, Boccionis sculpture Unique Forms of Continuity in Space, to some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism. Futurism is a movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini, Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. We want no part of it, the past, he wrote, publishing manifestos was a feature of Futurism, and the Futurists wrote them on many topics, including painting, architecture, religion, clothing and cooking. The founding manifesto did not contain an artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to a universal dynamism, which was to be represented in painting. The motor bus rushes into the houses which it passes, the Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists, Cubism offered them a means of analysing energy in paintings and expressing dynamism. They often painted modern urban scenes, carràs Funeral of the Anarchist Galli is a large canvas representing events that the artist had himself been involved in, in 1904. The action of an attack and riot is rendered energetically with diagonals. His Leaving the Theatre uses a Divisionist technique to render isolated, Boccionis The City Rises represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted, Boccioni developed these ideas at length in his book, Pittura scultura Futuriste, Dinamismo plastico. Ballas Dynamism of a Dog on a Leash exemplifies the Futurists insistence that the world is in constant movement
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Filippo Tommaso Marinetti
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Filippo Tommaso Emilio Marinetti was an Italian poet, editor, art theorist, and founder of the Futurist movement. He was associated with the utopian and Symbolists artistic and literary community Abbaye de Créteil between 1907 and 1908, Marinetti is best known as the author of the first Futurist Manifesto, which was written and published in 1909. Emilio Angelo Carlo Marinetti spent the first years of his life in Alexandria, Egypt, enrico was a lawyer from Piedmont, and his mother was the daughter of a literary professor from Milan. They had come to Egypt in 1865, at the invitation of Khedive Ismail Pasha and his love for literature developed during the school years. His mother was a reader of poetry, and introduced the young Marinetti to the Italian and European classics. At age seventeen he started his first school magazine, Papyrus and he first studied in Egypt then in Paris, obtaining a baccalauréat degree in 1894 at the Sorbonne, and in Italy, graduating in law at the University of Pavia in 1899. He decided not to be a lawyer but to develop a literary career and he experimented with every type of literature, signing everything Filippo Tommaso Marinetti. The Abbaye de Créteil was a community founded in the autumn of 1906 by the painter Albert Gleizes. The movement drew its inspiration from the Abbaye de Thélème, a creation by Rabelais in his novel Gargantua. It was closed down by its members early in 1908, Marinetti is known best as the author of the Futurist Manifesto, which he wrote in 1909. It was published in French on the front page of the most prestigious French daily newspaper, Le Figaro, in The Founding and Manifesto of Futurism, Marinetti declared that Art, in fact, can be nothing but violence, cruelty, and injustice. Georges Sorel, who influenced the political spectrum from anarchism to Fascism. Futurism had both anarchist and Fascist elements, Marinetti later became a supporter of Benito Mussolini. Marinetti, who admired speed, had a car accident outside Milan in 1908 when he veered into a ditch to avoid two cyclists. He referred to the accident in the Futurist Manifesto, the Marinetti who was helped out of the ditch was a new man, determined to end the pretense and decadence of the prevailing Liberty style. Together, he wrote, We will glorify war—the worlds only hygiene—militarism, patriotism, the gesture of freedom-bringers, beautiful ideas worth dying for. The Futurist Manifesto was read and debated all across Europe, in April, the opening night of his drama Le Roi bombance, written in 1905, was interrupted by loud, derisive whistling by the audience. And by Marinetti himself, who thus introduced another element of Futurism, Marinetti did, however, fight a duel with a critic he considered too harsh
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Alexander Archipenko
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Alexander Porfyrovych Archipenko was a Ukrainian-born American avant-garde artist, sculptor, and graphic artist. Alexander Archipenko was born in Kiev, in 1887, to Porfiry Antonowych Archipenko and Poroskowia Vassylivna Machowa Archipenko, he was the younger brother of Eugene Archipenko. From 1902 to 1905 he attended the Kiev Art School, after which he continued his education in the arts as the student of S. Svyatoslavsky in 1906, in the same year he had an exhibition, together with Alexander Bogomazov, in Kiev. Later that same year he moved to Moscow where he had a chance to exhibit his work in group shows. Archipenko moved to Paris in 1908 and was a resident in the artists colony La Ruche, among émigré Russian artists, Wladimir Baranoff-Rossine, Sonia Delaunay-Terk and Nathan Altman. In 1912 Archipenko had his first personal exhibition at the Museum Folkwang at Hagen in Germany, four of Archipenkos Cubist sculptures, including Family Life and five of his drawings, appeared in the controversial Armory Show in 1913 in New York City. These works were caricatured in the New York World, Archipenko moved to Nice in 1914. In 1920 he participated in Twelfth Biennale Internazionale dellArte di Venezia in Italy, in 1922 Archipenko participated in the First Russian Art Exhibition in the Gallery van Diemen in Berlin together with Aleksandra Ekster, Kazimir Malevich, Solomon Nikritin, El Lissitzky and others. In 1923 he emigrated to the United States, and participated in an exhibition of Russian Paintings and he became a US citizen in 1929. In 1933 he exhibited at the Ukrainian pavilion in Chicago as part of the Century of Progress Worlds Fair, Alexander Archipenko contributed the most to the success of the Ukrainian pavilion. His works occupied one room and were valued at $25,000 dollars, in 1936 Archipenko participated in an exhibition Cubism and Abstract Art in New York as well as numerous exhibitions in Europe and other places in the U. S. He was elected to the American Academy of Arts and Letters in 1962, Alexander Archipenko died on February 25,1964, in New York City. He is interred at Woodlawn Cemetery in The Bronx, New York City, the sculptor Ann Weaver Norton apprenticed with Archipenko for a number of years. O. P. Museum de Fundatie, Zwolle, Netherlands Archipenkos statue of King Solomon, at the University of Pennsylvania campus, dominates the walk from 36th and its creation began in 1964 when, shortly before he died, the artist completed a four–foot sculpture designed for enlargement. His wife oversaw its first casting, in 1968, the 14. 5-foot 1. 5-ton statue was produced. In 1985, it was given to the University by Mr, Cubist in form, it has been described as evoking the feeling of smallness in the face of power that one must have felt standing before King Solomon himself. National Gallery of Art, The Tel Aviv Museum, karshan, Donald H. Archipenko, International Visionary. Alexander Archipenko, A Memorial Exhibition 1967–1969, Александр Архипенко //Прогресс-Традиция,2011,624 стр
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Aleksandra Ekster
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She was born Aleksandra Aleksandrovna Grigorovich in Białystok, in the Grodno Governorate of the Russian Empire to a wealthy Belarusian family. Her father, Aleksandr Grigorovich, was a wealthy Belarusian businessman, young Aleksandra received an excellent private education, studying languages, music, art, and taking private drawing lessons. Soon her parents moved to Kyiv, and Asya, as called by her friends, attended Kiev gymnasium St. Olga and Kiev Art School, Aleksandra graduated in painting from Kiev Art School in 1906. In 1908, Aleksandra Grigorovich married a successful Kiev lawyer, Nikolai Evgenyevich Ekster, the Eksters belonged to cultural and intellectual elite of Kiev. She spent several months with her husband in Paris, and there she attended Académie de la Grande Chaumière in Montparnasse, from 1908 to 1924 she intermittently lived in Kiev, St. Petersburg, Odessa, Paris, Rome and Moscow. In 1908 she participated in an exhibition together with members of the group Zveno organized by David Burliuk, Wladimir Burliuk, in Paris, Aleksandra Ekster was a personal friend of Pablo Picasso and Georges Braque, who introduced her to Gertrude Stein. She exhibited six works at the Salon de la Section dOr, Galerie La Boétie, Paris, October 1912, with Jean Metzinger, Albert Gleizes, Marcel Duchamp and others. In that same year she participated with the “Russians” Archipenko, Koulbine, in 1915 she joined the group of avant-garde artists Supremus. Her friend introduced her to the poet Apollinaire, who took her to Picassos workshop, according to Moscow Chamber Theatre actress Alice Coonen, In Parisian household there was a conspicuous peculiar combination of European culture with Ukrainian life. On the walls between Picasso and Braque paintings there was Ukrainian embroidery, on the floor was a Ukrainian carpet, at the table they served clay pots, colorful majolica plates of dumplings. Under the avant-guard umbrella, Ekster has been noted to be a suprematist and constructivist painter as well as an influencer of the Art Deco movement. While not confined within a movement, Exter was one of the most experimental women of the avant-garde. Ekster absorbed from many sources and cultures in order to develop her own original style, Ekster later founded a teaching and production workshop in Kiev. Vadym Meller, Anatol Petrytsky, Kliment Redko, Tchelitchew, Shifrin, Nikritin worked there, also during this period she was one of the leading stage designers of Alexander Tairovs Chamber Theatre. In 1919 together with other avant-garde artists Kliment Redko and Nina Genke-Meller she decorated the streets and squares of Kiev and she worked with Vadym Meller as a costume designer in a ballet studio of the dancer Bronislava Nijinska. In 1921 she became a director of the elementary course Color at the Higher Artistic-Technical Workshop in Moscow and her work was displayed alongside that of other Constructivist artists at the 5x5=25 exhibition held in Moscow in 1921. In line with her eclectic avant-guard-like style, Ekster’s early paintings strongly influenced her design as well as her book illustrations. All of Ekster’s works, no matter the medium, stick to her distinct style and her works are vibrant, playful, dramatic, and theatrical in composition, subject matter, and color
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Kazimir Malevich
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Kazimir Severinovich Malevich was a Russian painter and art theoretician. He was a pioneer of abstract art and the originator of the avant-garde Suprematist movement. He was a devout Christian mystic who believed the central task of an artist was that of rendering spiritual feeling, Kazimir Malevich was born Kazimierz Malewicz to a Polish family, who settled near Kiev in Kiev Governorate of the Russian Empire during the partitions of Poland. His parents, Ludwika and Seweryn Malewicz, were Roman Catholic like most ethnic Poles and they both had fled from the former eastern territories of the Commonwealth to Kiev in the aftermath of the failed Polish January Uprising of 1863 against the tsarist army. His native language was Polish though he spoke Ukrainian in public, subsequently, Malevich even wrote a series of articles about art in Ukrainian. Kazimirs father managed a sugar factory, Kazimir was the first of fourteen children, only nine of whom survived into adulthood. His family moved often and he spent most of his childhood in the villages of Ukraine, amidst sugar-beet plantations, until age twelve he knew nothing of professional artists, although art had surrounded him in childhood. He delighted in peasant embroidery, and in decorated walls and stoves and he was able to paint in the peasant style. He studied drawing in Kiev from 1895 to 1896, from 1896 to 1904 Kazimir Malevich lived in Kursk. In 1904, after the death of his father, he moved to Moscow and he studied at the Moscow School of Painting, Sculpture, and Architecture from 1904 to 1910 and in the studio of Fedor Rerberg in Moscow. In the same year he participated in an exhibition by the collective, by that time his works were influenced by Natalia Goncharova and Mikhail Larionov, Russian avant-garde painters, who were particularly interested in Russian folk art called lubok. Malevich described himself as painting in a Cubo-Futuristic style in 1912, in March 1913 a major exhibition of Aristarkh Lentulovs paintings opened in Moscow. Already in the year the Cubo-Futurist opera, Victory Over the Sun, with Malevichs stage-set. In 1914 Malevich exhibited his works in the Salon des Indépendants in Paris together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster, Malevich also co-illustrated, with Pavel Filonov, Selected Poems with Postscript, 1907–1914 by Velimir Khlebnikov and another work by Khlebnikov in 1914 titled Roar. In 1915, Malevich laid down the foundations of Suprematism when he published his manifesto, in 1915–1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916–1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk, Aleksandra Ekster, famous examples of his Suprematist works include Black Square and White On White. Malevich exhibited his first Black Square, now at the Tretyakov Gallery in Moscow, a black square placed against the sun appeared for the first time in the 1913 scenery designs for the Futurist opera Victory over the Sun. The second Black Square was painted around 1923, some believe that the third Black Square was painted in 1929 for Malevichs solo exhibition, because of the poor condition of the 1915 square
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Abstract expressionism
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Action painting, sometimes called gestural abstraction, is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied. The resulting work often emphasizes the act of painting itself as an essential aspect of the finished work or concern of its artist. The style was widespread from the 1940s until the early 1960s, a comparison is often drawn between the American action painting and the French tachisme. According to Rosenberg the canvas was an arena in which to act, to Greenberg, it was the physicality of the paintings clotted and oil-caked surfaces that was the key to understanding them. – Clement Greenberg, Post Painterly Abstraction and it is essential for the understanding of action painting to place it in historical context. Action painting took this a further, using both Jung and Freud’s ideas of the subconscious as its underlying foundations. The paintings of the Action painters were not meant to portray objects per se or even specific emotions, instead they were meant to touch the observer deep in the subconscious mind, evoking a sense of the primeval and tapping the collective sense of an archetypal visual language. This was done by the artist painting unconsciously, and spontaneously, creating an arena of raw emotion and action. Action painting was influenced by the surrealist emphasis on automatism which influenced by psychoanalysis claimed a more direct access to the subconscious mind. Important exponents of this concept of art making were the painters Joan Miró, however the action painters took everything the surrealists had done a step further. Action Writing, Jack Kerouacs Wild Form, Carbondale, IL, auction record including a color image of a 1960 action painting by Elaine Hamilton. 9th Street Art Exhibition-abstract expressionist artists reminisce—YouTube video
MoMA Celebrates 1913: Olga Rozanova’s Little Duck’s Nest…of Bad Words, Museum of Modern Art.jpg)
