All Kasimir Malevich 's Paintings
The Painting Names Are Sorted From A to Z


Prev   1   2

Choice ID Image  Paintings (From A to Z)       Details 
21624 Suprematist Painting (mk09)  Suprematist Painting (mk09)   1916 Oil on canvas,88 x 70.5 cm Amsterdam,Stedelijk Museum
36245 Supreme  Supreme   mk110 1915 Oil on canvas 71.1x44.4cm
36246 Supreme  Supreme   mk110 1915 Oil on canvas 57.5x48.5cm
36270 The Bust of girl  wear purple dress  The Bust of girl wear purple dress   mk110 1920 Oil on canvas 73x52.5cm
36215 The Female model  The Female model   mk110 1913 Oil on canvas
22367 The Flower Gathering (Mk19)  The Flower Gathering (Mk19)   1908 Water-Colour,Gouache and pencil on cardboard,23.5 x 25.5 cm Private collection
36296 The girl with red stick  The girl with red stick   mk110 1932-1933 Oil on canvas 71x61cm
36295 The Girl-s hair with comb  The Girl-s hair with comb   mk110 1932-1933 Oil on canvas 35.5x31cm
36287 The Half-length wear a yellow shirt  The Half-length wear a yellow shirt   mk110 1928-1932 Oil on canvas 99x79cm
36240 The Harvestman with red background  The Harvestman with red background   mk110 1912-1913 Oil on canvas 115x69cm
36237 The Head of Farmhouse girl  The Head of Farmhouse girl   mk110 1912 Oil on canvas 80x95cm
36225 The house in yellow of View  The house in yellow of View   mk110 1906-1907 Oil on canvas 19.2x29.5cm
36309 The man running  The man running   mk110 1932-1934 Oil on canvas 79x65cm
36250 The Plane is flight  The Plane is flight   mk110 1915 Oil on canvas 57.3x48.3cm
36298 The Portrait of artist-s wife  The Portrait of artist-s wife   mk110 1934 Oil on canvas 99.5x74.3cm
36217 The Portrait of Character  The Portrait of Character   mk110 1910 27.7x27.7cm
36219 The red house in view  The red house in view   mk110 1910-1911 107x106cm
36272 The red square on the black ground  The red square on the black ground   mk110 1922 28x11.5cm
36228 The Woman and child Pick up the water pail  The Woman and child Pick up the water pail   mk110 1912 Oil on canvas 73x73cm
36229 The Woman wear the hat in yellow  The Woman wear the hat in yellow   mk110 1908 Oil on canvas 48x39cm
30910 The Working Woman  The Working Woman   mk68 Oil on canvas Sant Petersburg State Hermitage Museum 193 Russia
36255 Three magnum opus of Conciliarism  Three magnum opus of Conciliarism   mk110 1923 Oil on canvas About 106x106cm
36280 Three Women  Three Women   mk110 1928-1930 Oil on canvas 47x63.5cm
36285 Three Women  Three Women   mk110 1928-1932 Oil on board 57x48cm
36239 Throught Station  Throught Station   mk110 1913 Oil on board 49x25.5cm
19269 To Harvest  To Harvest   1928-32 Oil on canvas The Russian Museum, St. Petersburg.
36301 Two men portrait  Two men portrait   mk110 1928-1932 Oil on canvas 99x74cm
36308 Two men portrait  Two men portrait   mk110 1930-1932 Oil on canvas 99x74cm
36274 Two Peasants  Two Peasants   mk110 1928-1932 Oil on canvas 53x70cm
36206 Unemployed Woman  Unemployed Woman   mk109 1904 Oil on canvas 80x66cm
36234 Wedding  Wedding   mk110 1910-1911 Oil on canvas
36218 Woman Bather  Woman Bather   mk110 1908 50x48cm
36310 Woman worker  Woman worker   mk110 1933 Oil on canvas 71.2x59.8cm
36289 Women in the farm  Women in the farm   mk110 1928-1930 Oil on canvas 106x125cm

Prev   1   2

Kasimir Malevich
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").

http://www.chinaoilpainting.com

China Oil Painting Studio Team