6), inspired by 'Suprematist
paintings, another favourite in addition to Rothko and the gang'.
The top lot of the evening was "Suprematist
Composition," an amalgam of hard-edged geometric shapes painted in 1916 by Malevich that sold for $85.8 million, a record for the Russian avant-garde artist.
Malevich's UNOVIS student group, for example, organized exhibitions all over Russia that promoted Suprematist
Eyewear with geometric patterns inspired by the Suprematist
paintings of the 20th-century artist Malevich, from German brand, ic!
at 464; see Suprematist
Composition: White on White, MoMA (Sept.
The SKUC primarily toyed with communist symbols and monuments, whereas the NSK's posters featured the amalgamation of retrogardist (suprematist
), nationalist and communist symbols using typically fascist iconography.
Plaintiffs were collectors of the Russian avant-garde period, particularly of works by Russian Suprematist
artist Lazar Khidekel, and had developed a relationship in Europe with defendant experts, the son and daughter-in-law of the late artist.
(The recent uncovering of racist graffiti underneath Malevich's famous Suprematist
monochrome might have offered a more direct line to parsing the other side of pure abstraction's sublimations.)
These works are often done in bold primary colors, and from a distance they resemble color-theory studies, like Josef Albers's "Homage to the Square" series, or works by the suprematist
painter Kazimir Malevich.
It is characterized by an absolutely minimal architecture, designed on a suprematist
scheme with some analogies with the hyper-minimal architecture of groups such as Dogma or Baukuh that in the last few years--and in open opposition to the deconstructivist dissipation of forms and signs--has shown an extreme expressive rigor.
(61.) While studying in Smolensk, Chodasiewicz had encountered the work of Malevich and Sztreminsky, though perhaps superficially; she took to Paris a sketchbook with some suprematist
pencil sketches that she later developed into a series of oil paintings; see Christophe Czwiklitzer, ed., Suprematisme de Nadia Khodossievitch--Leger (Paris: Editions Art--C.
Later, in a marvellous essay on Stephen Bambury (2000), and discussing the as it were transactional relation between Bambury and the Black Square (1915) of the Russian Suprematist
Vladimir Malevich, Curnow notes that, 'the meaning of the work (Black Square) is largely contextual, dependent upon our bringing to it some local knowledge'--some story, even, dare I say.