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Related to suprematist: Kazimir Malevich
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an artist of the school of suprematism

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Although the proceedings of this case were quite convoluted, (360) the basic facts relevant to this discussion are as follows: plaintiff collector sold and/or consigned a number of Russian Suprematist works to defendant, a New York gallery, in a series of transactions in 2009.
With the arrival of Malevitch in Vitebsk, however, he was soon deeply involved in applying Suprematist principles to propaganda.
The results are at times reminiscent of Suprematist compositions.
He cites sculptor Tony Smith, Suprematist founder Kazimir Malevich and ceramist Masamichi Yoshikawa as influences.
Kazimir Malevich, also a visionary, founded the Suprematist movement in 1915 to express pure feeling in art.
(2) Certainly, Western interest in the art of the early avant-garde (particularly as created by the Suprematist and Constructivist groups--and with a canon headed by Kazimir Malevich, El Lissitskii, Vladimir Tatlin, and the architect Konstantin Mel'nikov) was already generating a significant body of work by the end of the 1970s.
In terms of influences, they cite modernist visionaries like James Joyce, Gertrude Stein and the Russian abstract painter Kazimir Malevich, whose Suprematist Manifesto of 1926 called for the rediscovery of "pure feeling in creative art" (and whose geometric symbols are peppered throughout the opening episodes of Life and Times).
Here his familiar referencing of Malevich's 1915 exhibition of Suprematist paintings, which Diao first begun in 1984, is paired with an image taken from Russian architect Konstantin Melnikov's studio.
The exhibition will demonstrate the shift in emphasis from the "nave" folklore themes in his early work towards an understanding of how he combined Fauve, Cubist, Expressionist and Suprematist styles while expressing his native Jewish Russian culture.
To the right of the figure there are a few Vitebsk homes, the blue cupola of an Orthodox church, and the Russian letters for "Oh God." Chagall executed this uncharacteristically gloomy painting as the Suprematist master Kazimir Malevich was trying to oust him from his position as head of the Vitebsk art school.
His ethnic identity is conspicuously incongruous: he is a Russian (Malevich), a European (expressionist brushstrokes and pouring), an Arab Muslim, with his scimitar dangling below his Suprematist breastplate.
The Hutaree are a group of white suprematist Hitler wannabees who have been arrested recently.
By examining the use of the iconography tradition in Potemkin, this analysis will fulfill Bartlett's suggestion that an investigation similar to Ksana Blank's "Lev Tolstoy's Suprematist Icon-Painting," in which Blank analyzes Tolstoy's use of Orthodox iconography tradition in his writing, should be applied to Eisenstein's work (74).
His "Proun" period (1919-24) included works on wood or paper that featured the Suprematist shapes of Malevich which, when combined with Lissitsky's background in engineering and architecture, emerged as outlines for future building projects.
For example, good and bad guys almost literally wear white and black hats in the showdown between Russian suprematist painter Malevich (of the white on white canvases) and his Stirner-quoting rival painter Rodchenko (of the black on black ones) at Russia's 1919 "Tenth State Exhibition of Nonobjective Creation and Suprematism." Antliff quotes a diary entry by Rodchenko's doting wife, artist Varvara Stepanova, in which she records the outcome of what I can only describe as an intellectual tractor pull.