![]() The combination of a Cubist vocabulary with Futurist ideas became known as Cubo-Futurism in Russia. By the following year, his explorations of Futurism resulted in a work like The Knife Grinder (Yale University Art Gallery, New Haven, CT., USA) in which the circular motion of the wheel and the movements of the hands and legs are depicted through small, geometrically facetted forms. Although he continued to employ a frontal organization and depict provincial and peasant themes, his vocabulary became more geometric ( Taking in the Rye, 1912, Stedelijk Museum, Amsterdam). In 1912 Malevich, like many of his Russian colleagues, began to experiment with Cubism. The style was clearly influenced by the native wood print (the lubok), and ancient Russian icons, as well as by the Post-Impressionist and Fauvist works that he was able to study in the Moscow collections of Sergei Shchukin and Ivan Morozov. Subsequently, under the influence of Goncharova and Larionov, he developed a Neo-Primitivist style ( The Bather, 1911, Stedelijk Museum, Amsterdam), which was characterized by planar compositions, dark outlines and crudely applied pigment. 1904, Stedelijk Museum, Amsterdam), Symbolism ( The Shroud of Christ, 1908, State Tretyakov Gallery, Moscow), Art Nouveau ( Relaxing: High Society in Top Hats, 1908, State Russian Museum, St Petersburg) and Fauvism ( Self Portrait, 1908 or 1910-11, State Russian Museum, St. His early work explored numerous styles, including Divisionism, Impressionism ( Portrait of a Member of the Artist’s Family, c. Petersburg and became close to the artist and musician, Mikhail Matiushin. In 1913, he became associated with the Union of Youth group in St. In 1910 he exhibited with the Jack (Knave) of Diamonds group and participated in the exhibitions of The Donkey’s Tail (1912) and Target (1913). ![]() In 1909, he divorced his first wife and married Sofia Rafalovich, who died in 1923 from tuberculosis, but with whom he had a daughter Una. ![]() ![]() He also became friends with Natalia Goncharova and Mikhail Larionov, who became the acknowledged leaders of the Russian Avant-Garde in the years just prior to the First World War. In 1907, he showed his work at the exhibition of the Moscow Association of Artists, alongside artists like David Burliuk, Wassily Kandinsky and Aleksei Morgunov. Sometime after moving to Moscow permanently, he began studying in the private studio of the Impressionist painter Ivan Rerberg. In 1904-5 he visited Moscow, trying unsuccessfully to gain admittance to the city’s School of Painting, Sculpture and Architecture and later recalled being involved in the violent events of the 1905 revolution in the city. ![]()
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