Either the study of the secrets of creativity or the facts of Malevich’s life or the artist’s thoughts, the creation of a suprematist masterpiece form a plastic formula which makes it possible to find realization of Malevich’s artistic and written prophecies depending on time and to get closer to the artist’s intention.
Black Suprematistic Square, 1915
Oil on linen, 79,5 х 79,5 cm
Tretyakov Gallery, Moscow2
Kazimir Malevich was born in a family of a sugar cook and a housewife in Kiev in 1878. Kazimir was the first child. He had four brothers (Anton, Boleslav, Bronislav, Mechislav) and four sisters (Maria, Wanda, Severina, Victoria). Malevich spent his childhood in the Ukrainian countryside. There he watched how the painted stoves and the embroidered national patterns were made. Later he recalled that this folk culture had influenced his works. When Kasimir was 15 years old his mother bought him a set of paints in Kiev. From that moment his artistic path began. In 1896 the Malevich family moved to Kursk. In 1899 Kazimir married Kazimiera Zglejc (1883–1942), the daughter of a Kursk doctor. She was a paramedic. Kazimir and Kazimiera had a son Anatoly (1901–1915) and a daughter Galina (1905–1973). Malevich worked in the Office of the Kursk-Moscow Railway as a draftsman. It should be noted that professional activity and specifically work with architectural drawings had influenced the artist’s choice of geometric shapes in painting.
Together with like-minded people Malevich organized an art circle in one of the rooms of the Administration building where they came after the government service to draw both plaster figures and people from nature. “The Exhibition of Moscow and Nonresident Artists’ Paintings” (1905, Kursk) was the first for Malevich. After some years Malevich get bored with measured provincial life. His thought to move to Moscow became obsessive.
In Kursk the first stage of K. Malevich’s creative biography began. Later the researchers classified this period as the early impressionism. The Influence of the French artists was observed in early works such as “Spring Landscape” (mid-1900s, private collection, Paris) and “Church” (circa 1905, private collection). Here Malevich made color and light effects which ranged from discrete brush strokes to neo-impressionistic pointalism with evenly covering the canvas with fine dots. Impressionism was the first step towards the term simulacrum in the postmodern philosophy of our time. Virtual reality which did not exist in reality but was created with the help of technology allowed us to comprehend possible variations of the simulation concept.