Word: maleviches
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...KAZIMIR MALEVICH: 1878-1935. This sweeping retrospective shows off all phases of Malevich's avant-garde artistic career, from his abstract suprematist masterpieces to styles as diverse as neoprimitivism and cubo-futurism. At the National Gallery of Art, Washington, through...
...growth area for forgery today is the work of the Russian avant-garde -- Rodchenko, Popova, Larionov, Lissitsky, Malevich -- which, as a result of perestroika, is coming on the market in some quantity after 60 years of Stalinist-Brezhnevian repression. Prices are zooming, and authentication is thin. Sotheby's held a Russian sale in London in April 1989. It contained, according to some scholars, two outright fakes ascribed to Liubov Popova and one dubious picture, badly restored and signed on the front -- something Popova never did with her oil paintings. Doubts about the authenticity of these works were voiced...
...most radical paintings were the suprematist compositions he made between 1913 and the mid-1920s. To imagine that these were just formal exercises is to underrate them. Malevich thought of his black square and its cousins -- the white-on-white geometries, the crisp arrangements of colored planes floating in space as deep as the sky -- as icons, points of entry into a superior spiritual world. Their vividness, their power to fix one's attention, is also the vividness of the staring eyes of a pantocrator...
Small wonder that Malevich is seen, in Soviet terms, as the bridge between tradition and innovation: a sort of starets, a holy man or prophet, whose images invoke deep strands of identification with religious faith and folk culture while pointing to a future wreathed in theory. The reinstatement of Malevich had been under way for years, and yet this show was certainly one of the events in the Soviet Union's intellectual life that define the cultural consequences of glasnost...
...1960s and '70s, Stenberg's work was a prolonged meditation on constructivism and suprematism, the chief movements of the "classical" Russian avant-garde in the years just before and after the revolution: finely tuned planar constructions in a pale, deep space. Lately, in a way that parallels Malevich's return to peasant themes in the 1920s, Stenberg has deepened his color and turned to images of a remote village where he spends part of his time: bare roads, cottages, grave markers, religious symbols like the fish and the Cross, all emblems of an ancient Russia that continues to exist below...