This is Kazimir Malevich

Kazimir Severinovich Malevich (23 February [O.S. 11 February] 1879 – 15 May 1935) was a Russian broadminded artist and art theorist, whose pioneering behave and writing had a perplexing influence upon the innovation of non-objective, or abstract art, in the 20th century. Born in Kiev to an ethnic Polish family, his concept of Suprematism sought to fabricate a form of ventilation that moved as far away as reachable from the world of natural forms (objectivity) and subject concern in order to access “the supremacy of fixed feeling” and spirituality. Malevich is considered to be allocation of the Ukrainian avant-garde (together later Alexander Archipenko, Vladimir Tatlin, Sonia Delaunay, Aleksandra Ekster, and David Burliuk) that was shaped by Ukrainian-born artists who worked first in Ukraine and later over a geographical span amid Europe and America.

Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism, and after visiting Paris in 1912, Cubism. Gradually simplifying his style, he developed an contact with key works consisting of final geometric forms and their interaction to one another, set adjoining minimal grounds. His Black Square (1915), a black square upon white, represented the most radically abstract painting known to have been created consequently far and drew “an uncrossable line (…) between obsolete art and other art”;Suprematist Composition: White upon White (1918), a barely differentiated off-white square superimposed upon an off-white ground, would accept his ideal of resolution abstraction to its reasoned conclusion. In accessory to his paintings, Malevich laid down his theories in writing, such as “From Cubism and Futurism to Suprematism” (1915) and The Non-Objective World: The Manifesto of Suprematism (1926).

Malevich’s trajectory in many ways mirrored the tumult of the decades surrounding the October Revolution (O.S.) in 1917. In its unexpected aftermath, vanguard movements such as Suprematism and Vladimir Tatlin’s Constructivism were encouraged by Trotskyite factions in the government. Malevich held several prominent teaching positions and normal a solo fake at the Sixteenth State Exhibition in Moscow in 1919. His tribute spread to the West later than solo exhibitions in Warsaw and Berlin in 1927. From 1928 to 1930, he taught at the Kyiv Art Institute, with Alexander Bogomazov, Victor Palmov, Vladimir Tatlin and published his articles in a Kharkiv magazine, Nova Generatsia (New Generation). But the start of repression in Ukraine adjoining the intelligentsia motivated Malevich compensation to modern-day Saint Petersburg. From the start of the 1930s, modern art was falling out of favor subsequent to the supplementary government of Joseph Stalin. Malevich soon free his teaching position, artworks and manuscripts were confiscated, and he was banned from making art. In 1930, he was imprisoned for two months due to suspicions raised by his vacation to Poland and Germany. Forced to step the length of from abstraction, he painted in a representational style in the years previously his death from cancer in 1935, at the age of 56.

Nonetheless, his art and his writing influenced contemporaries such as El Lissitzky, Lyubov Popova and Alexander Rodchenko, as skillfully as generations of superior abstract artists, such as Ad Reinhardt and the Minimalists. He was highly praised posthumously in major exhibits at the Museum of Modern Art (1936), the Guggenheim Museum (1973) and the Stedelijk Museum in Amsterdam (1989), which has a large buildup of his work. In the 1990s, the ownership claims of museums to many Malevich works began to be disputed by his heirs.