1878-1935 Kasimir Malevich Gallery In 1904, after the death of his father, he moved to Moscow. He studied at the Moscow School of Painting, Sculpture and Architecture from 1904 to 1910 and in the studio of Fedor Rerberg in Moscow (1904?C1910). In 1911 he participated in the second exhibition of the group Soyuz Molodyozhi (Union of Youth) in St. Petersburg, together with Vladimir Tatlin and, in 1912, the group held its third exhibition, which included works by Aleksandra Ekster, Tatlin and others. In the same year he participated in an exhibition by the collective Donkey's Tail in Moscow. 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. In March 1913 a major exhibition of Aristarkh Lentulov's paintings opened in Moscow. The effect of this exhibition was comparable with that of Paul Cezanne in Paris in 1907, as all the main Russian avant-garde artists of the time (including Malevich) immediately absorbed the cubist principles and began using them in their works. Already in the same year the Cubo-Futurist opera Victory Over the Sun with Malevich's stage-set became a great success. In 1914 Malevich exhibited his works in the Salon des Independants in Paris together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster and Vadim Meller, among others. It remains one of the great mysteries of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous. Be that as it may, in 1915 he published his manifesto From Cubism to Suprematism. 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 and A. Ekster, among others. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918). In 1918 Malevich decorated a play Mystery Bouffe by Vladimir Mayakovskiy produced by Vsevolod Meyerhold. Malevich also acknowledged that his fascination with aerial photography and aviation led him to abstractions inspired by or derived from aerial landscapes. Harvard doctoral candidate Julia Bekman Chadaga writes: ??In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception .... In a series of diagrams illustrating the ??environments' that influence various painterly styles, the Suprematist is associated with a series of aerial views rendering the familiar landscape into an abstraction..." (excerpted from Ms. Bekman Chadaga's paper delivered at Columbia University's 2000 symposium, "Art, Technology, and Modernity in Russia and Eastern Europe").  Related Paintings of Kasimir Malevich :. | The Half-length wear a yellow shirt | Supreme | Supreme | Black Cross | Peasant-s head |
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BAGLIONE, Giovanni
Italian Baroque Era Painter, active 1573-1644 A pupil of Francesco Morelli, he worked mainly in Rome, initially with a late-Mannerist style. He was also nicknamed Il Sordo del Barozzo. He published two books, The nine churches of Rome (1639) and The Lives of Painters, Sculptors, Architects and Engravers (active from 1572-1642)(1642). The last title is still seen as an important historical source for painters living in Rome during the life of Baglione. Among those he chronicled, and for whom he was notorious in his animosity was Caravaggio, whose style had influenced him much. The latter was forced to leave the city after Baglione's accusations of sodomy. Baglione's Sacred love versus profane love, a response to Caravaggio's Love Victorious, shows an angel (Sacred Love) interrupting a 'meeting' between Cupid (Profane Love) and the Devil (portrayed with the face of Caravaggio). He was employed in many considerable works in Rome during the pontificates of Clement VIII and Paul V. His main works are frescoes which can be seen in the Santa Maria Maggiore in Rome, in the Cappella Borghese. For the church of Santa Maria dell'Orto he painted in the chapel of Our Lady with the Zuccheri scenes from the life of the Blessed Virgin. Among other works which he executed for this church is a painting of Saint Sebastian. An excellent example of Baglione's work is The Last Supper at San Nicola in Carcere. From his brush also there is a Saint Stephen in the Cathedral at Perugia, and in that of Loreto a Saint Catherine. Pope Paul V knighted Baglione a Knight of the Order of Christ for his painting of Saint Peter Raising Tabitha from the Dead (1607) in St. Peter's Basilica. He also painted a St. Stephen for the cathedral of Perugia, and a St. Catharine for the cathedral of Loreto. The Giustizia hall at the Rocca dei Rossi was completely frescoed by Baglione. He died at Rome.