Celebrating Suprematism: New Approaches to the Art of Kazimir Malevich
Mar 29, 2023
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Celebrating Suprematism: New Approaches to the Art of Kazimir MalevichEditors-in-Chief
Jeffrey P. Brooks (The Johns Hopkins University) Christina Lodder (University of Kent)
Volume 22
The titles published in this series are listed at brill.com/rhc
Edited by
Christina Lodder
Cover illustration: Installation photograph of Kazimir Malevich’s display of Suprematist Paintings at The Last Futurist Exhibition of Paintings, 0.10 (Zero-Ten), in Petrograd, 19 December 1915 – 19 January 1916. Photograph private collection.
Library of Congress Cataloging-in-Publication Data
Names: Lodder, Christina, 1948- editor. Title: Celebrating Suprematism : new approaches to the art of Kazimir Malevich / edited by Christina
Lodder. Description: Leiden ; Boston : Brill, [2019] | Series: Russian history and culture, ISSN 1877-7791 ; Volume 22 |
Includes bibliographical references and index. Identifiers: LCCN 2018037205 (print) | LCCN 2018046303 (ebook) | ISBN 9789004384989 (E-book) | ISBN
9789004384873 (hardback : alk. paper) Subjects: LCSH: Malevich, Kazimir Severinovich, 1878-1935–Criticism and interpretation. | Suprematism in
art. | UNOVIS (Group) Classification: LCC N6999.M34 (ebook) | LCC N6999.M34 C45 2019 (print) | DDC 700.92–dc23 LC record available at https://lccn.loc.gov/2018037205
Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface.
ISSN 1877-7791 ISBN 978-90-04-38487-3 (hardback) ISBN 978-90-04-38498-9 (e-book)
Copyright 2019 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh andWilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change.
This book is printed on acid-free paper and produced in a sustainable manner.
Introduction 1 Christina Lodder
1 New Information Concerning The Black Square 11 Irina Vakar
2 Defining Suprematism: The Year of Discovery 29 Charlotte Douglas
3 Malevich, the Fourth Dimension, and the Ether of Space One Hundred Years Later 44
Linda Dalrymple Henderson
4 The Path of Empirical Criticism in Russia or ‘TheMilkyWay of Inventors’ 81
Alexander Bouras
5 Kazimir Malevich, Unovis, and the Poetics of Materiality 105 Maria Kokkori, Alexander Bouras and Irina Karasik
6 Branches of Unovis in Smolensk and Orenburg 126 Alexander Lisov
7 Suprematism and/or Supremacy of Architecture 144 Samuel Johnson
8 Lazar Khidekel and Suprematism as an Embodiment of the Infinite 161
Regina Khidekel
9 ‘…In our time, when it becameWe…’: A Previously Unknown Essay by Kazimir Malevich 187
Tatiana Goriacheva
vi Contents
10 ‘A thing of quality defies being produced in quantity’: Suprematist Porcelain and Its Afterlife in Leningrad Design 198
Yulia Karpova
11 Suprematist Textiles 221 Julia Tulovsky
12 Suprematism: A Shortcut into the Future: The Reception of Malevich by Polish and Hungarian Artists during the Inter-War Period 240
Éva Forgács
Christina Lodder
Index 289
Acknowledgements
The contents of this volume are based on papers that were originally delivered at the conference – ‘Celebrating 100 Years of Suprematism’ – which was held at the Harriman Institute, Columbia University New York, in December 2015, under the auspices of the Malevich Society, the Harriman Institute, the Lazar Khidekel Society, the Society of Historians of Eastern European, Eurasian and Russian Art and Architecture (SHERA), and the organisation Russian Art and Culture. A great debt of gratitude is owed to the Harriman Institute for host- ing the conference, and especially to Professor Alan Timberlake and his team for their exceptional generosity, organisational skill and kindness. In addition, as President of the Malevich Society, the editor would like to thank every- one for their co-operation, including Regina and Mark Khidekel of the Lazar Khidekel Society, Natasha Kurchanova of SHERA, andmembers of the Board of theMalevich Society, especially Professor Charlotte Douglas, DrMaria Kokkori and Dr Julia Tulovsky. A special debt of gratitude is owed to the Director of the State Tretyakov Gallery in Moscow, Dr Zelfira Tregulnova for facilitating and supporting this whole venture in so many ways.
The editor is extremely grateful to all those contributors who agreed to publish their papers in this collection, for their patience in dealing with end- less queries and their diligence in meeting deadlines. In addition, the editor would like to thank Professor Jeffrey Brooks for his invaluable suggestions and to the various private individuals and institutions that have given per- mission for works and images to be reproduced, especially The State Tretyakov Gallery, Moscow; The State Literary Museum, Moscow; The Museum Tsarit- syno, Moscow; The State Hermitage Museum, St. Petersburg; The State Mu- seum of Theatre and Music, St. Petersburg; The State Russian Museum, St. Petersburg; The State Mustafaev Azerbaijan Museum of Art, Baku; The State Radishchev Museum, Saratov; The Art Institute of Chicago; The Stedelijk Mu- seum, Amsterdam; The Getty Research Institute, Los Angeles; The Houghton Library, Harvard University, Boston; The Solomon R. Guggenheim Foundation, New York, and The Peggy Guggenheim Collection, Venice; The Museum of Modern Art, New York; Dr Maria Tsantsangolou and The State Museum of Contemporary Art, Thessaloniki; The Lazar Khidekel Family Archive & Collec- tion, New York; and Dr Alexander Lavrentiev and The Rodchenko-Stepanova Archive, Moscow.
All the scholars involved in this publication would also like to take this opportunity to express their particular gratitude to the staff of the follow- ing archives, libraries, and galleries who gave them assistance and advice in
viii Acknowledgements
the course of their research: The State Russian Museum and The Manuscript Department of the State Russian Museum, St. Petersburg; The Russian State Archive of Literature and Art, Moscow; The State Tretyakov Gallery, Moscow; The Rodchenko-Stepanova Archive, Moscow; The State Archive of Vitebsk Province, Vitebsk; The Museum of Modern Art, New York; and The Lazar Khidekel Archive, New York.
Finally, the editor would like to thank all the staff at Brill, especially Ivo Romein and Saskia van der Knaap for their help and support in realising this publication, as well as family and friends for being there when things got tough. A big thank you to you all!
List of Illustrations
Irina Vakar
1.1 Kazimir Malevich, The Black Square, 1915, oil on canvas, 79.5× 79.5 cm., State Tretyakov Gallery, Moscow. 12
1.2 Kazimir Malevich, The Black Square, 1915, pencil on paper, 9× 8.2 cm., State Literary Museum, Moscow. 15
1.3 Kazimir Malevich, Design of a Backdrop for the First Act of the Opera ‘Victory over the Sun’, 1915, pencil on paper, 10× 9.5 cm., State Literary Museum, Moscow. 16
1.4 Kazimir Malevich, Suprematist Composition, 1915, oil on canvas, 101.5× 62 cm., Stedelijk Museum, Amsterdam. 17
1.5 Consolidated Radiograph image of the paintings beneath The Black Square. The image represents the consolidation of 12 x-rays. Photograph courtesy of The State Tretyakov Gallery, Moscow. 19
1.6 Radiograph showing a reconstruction of the first painting, a Cubo-Futurist Composition. Photograph courtesy of The State Tretyakov Gallery, Moscow. 20
1.7 Kazimir Malevich, The Guardsman, 1913, oil on canvas, 57× 66.5 cm., Stedelijk Museum, Amsterdam. 21
1.8 Radiograph of Kazimir Malevich, The Black Square, 1915, revealing a Proto-Suprematist Composition underneath. Photograph courtesy of The State Tretyakov Gallery, Moscow. 22
1.9 Kazimir Malevich, The Black Square, 1915, oil on canvas, 79.5× 79.5 cm., State Tretyakov Gallery, Moscow. Detail. 23
1.10 Kazimir Malevich, Design of a Backcloth for the First Scene of the Second Act of the Opera ‘Victory over the Sun’, 1913, pencil on paper, 21× 27 cm., State Museum of Theatre and Music, St. Petersburg. 25
1.11 Kazimir Malevich, Untitled Alogist Composition, early 1915, pencil on paper, private collection. 26
Linda Dalrymple Henderson
3.1 Installation photograph of Kazimir Malevich’s display of Suprematist Paintings at The Last Futurist Exhibition of Paintings, 0.10 (Zero-Ten), in Petrograd, 19 December 1915 – 19 January 1916, Petrograd. Photograph private collection. 45
3.2 Umberto Boccioni, Dynamism of a Soccer Player, 1913, oil on canvas, 193.2× 201 cm., The Sidney and Harriet Janis Collection, The Museum of Modern Art,
x List of Illustrations
New York. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, New York. 59
3.3 Kazimir Malevich, Painterly Realism of a Football Player: Colour Masses in the Fourth Dimension, 1915, oil on canvas, 70.2× 44.1 cm., The Art Institute of Chicago. Photograph: The Art Institute of Chicago / Art Resource, New York. 61
3.4 Kazimir Malevich, Suprematist Composition, 1915, oil on canvas, 66.5× 57 cm., Museum Ludwig, Cologne. Photograph Rheinisches Bildarchiv, Cologne. 69
3.5 Kazimir Malevich, Stage Design for ‘Victory over the Sun’, 1915 version, graphite on paper. Reproduced from Benedikt Livshits, Polutorglazy strelets (Leningrad, 1933). 76
3.6 Kazimir Malevich, Composition 14t (Suprematism: Sensation of Electric[ity]), 1915, graphite on paper, 15.3× 10 cm., (paper), 8.8× 4.9 cm., (image), Stedelijk Museum, Amsterdam. 78
3.7 Kazimir Malevich, Yellow Plane in Dissolution, 1917-18, oil on canvas, 10 6× 70.5 cm., Stedelijk Museum, Amsterdam. Photograph Art Resource, New York. 79
Alexander Bouras
4.1 Kazimir Malevich, The Black Quadrilateral, c. 1915, oil on canvas, 17× 24 cm., Collection George Costakis, State Museum of Contemporary Art, Thessaloniki. © The State Museum of Contemporary Art, Thessaloniki. 103
Maria Kokkori, Alexander Bouras and Irina Karasik
5.1 Unovis members, early 1920s. From left to right: Ivan Chervinka, Lazar Khidekel, Ilia Chashnik, and Lev Iudin. Photograph courtesy of the Lazar Khidekel Family Archive & Collection. 107
5.2 Lev Iudin’s table showing the five groups of materials, their signs and associated movements. © Manuscript Department of the State Russian Museum, St. Petersburg. 111
5.3a Karl Ioganson, Electrical Circuit (Representation) [Electricheskaia tsep’ (izobrazhenie)], 1922, paper collage and graphite on paper, 45.4× 33.6 cm., Collection George Costakis, State Museum of Contemporary Art, Thessaloniki. © The State Museum of Contemporary Art, Thessaloniki. 120
5.3b Karl Ioganson, Electrical Circuit (Representation) [Electricheskaia tsep’ /izobrazhenie/], 1922, verso, paper collage and graphite on paper, 45.4× 33.6 cm., Collection George Costakis, State Museum of Contemporary Art, Thessaloniki. © The State Museum of Contemporary Art, Thessaloniki. 121
List of Illustrations xi
6.2 Katarzyna Kobro (Ekaterina Kobro), Photograph taken c. 1918, private archive. 130
6.3 Boris Rybchenkov, Photograph taken c. 1918, private archive. 131 6.4 The building of the Proletkult Art Studio in Smolensk. Photograph taken in
2015, private archive. 132 6.5 Kazimir Malevich, El Lissitzky, and others, probably in Orenburg. Photograph
taken in summer 1920, private archive. 134 6.6 Wadysaw Strzemiski,What Have You Done for the Front? Give Everything to
ThoseWho Are Dying Defending You, 1920. Political poster produced for the Smolensk Russian Telegraph Agency (Rosta), during the Polish-SovietWar, private collection. 136
6.7 Boris Rybchenkov, Forward toWarsaw, 1920. Poster produced for the Smolensk Russian Telegraph Agency (Rosta), during the Polish-SovietWar, private collection. 137
6.8 Poster announcing Kazimir Malevich’s Lecture ‘On the Subject of the State, Society, Criticism and the New Artist Innovator’, Orenburg, 1920, private collection. 139
6.9 Installation photograph of works from the Orenburg Unovis, at the Unovis Exhibition at the Moscow Vkhutemas in 1921, private collection. 142
6.10 Installation photograph of works by El Lissitzky, Gustav Klutsis, and Ivan Kudriashev (of the Orenburg branch) on display at the Unovis exhibition at the Moscow Vkhutemas in 1921, private collection. 142
Samuel Johnson
7.1 El Lissitzky, Lenin Tribune, 1924, gouache, India ink and photomontage on cardboard, 63.8× 48 cm., State Tretyakov Gallery, Moscow. Photograph courtesy of The State Tretyakov Gallery. 147
7.2 Ilia Chashnik, Project for a Tribune for a Smolensk Square, 1920, gouache, graphite and India ink on paper, 48.2× 37.8 cm., State Tretyakov Gallery, Moscow. Photograph courtesy of The State Tretyakov Gallery. 148
7.3 El Lissitzky,Wolkenbügel on Niktiskii Square, c. 1925, gelatin silver print, Getty Research Institute, Los Angeles. Photograph courtesy of The Getty Research Institute. 149
xii List of Illustrations
7.4 Kazimir Malevich, Suprematist Structure Among American Skyscrapers, from Praesens No. 1 (1926). Photograph courtesy of The Getty Research Institute, Los Angeles. 151
7.5 Kazimir Malevich, Untitled, from Puti tvorchestva [The Paths of Creativity], No. 5, 1919. Photograph courtesy of Houghton Library, Harvard University. 153
7.6 El Lissitzky, Town, 1919-20, oil and sand on plywood, 47× 63.5 cm., State Mustafaev Azerbaijan Museum of Art, Baku. 155
7.7 Kazimir Malevich, Four Squares, 1915, oil on canvas, 49× 49 cm., State Radishchev Museum, Saratov. Photograph courtesy of The State Radishchev Museum. 156
7.8 Lazar Khidekel, Roads in the Lowlands (Canals): Ray of Light = 45°, pencil on paper, 17× 13 cm., private collection. Photograph courtesy of the Lazar Khidekel Family Archive & Collection. 157
Regina Khidekel
8.1 Kazimir Malevich, Suprematism: 34 Drawings (Vitebsk: Unovis, 1920). Signed by Khidekel: ‘Lazar Khidekel 1920 Vitebsk’, Lazar Khidekel Family Archive & Collection. 163
8.2 Lazar Khidekel, Drawing from the journal AERO: Articles and Projects, No. 1 (1920), India ink on paper, 17.5× 14.5 cm., Lazar Khidekel Family Archive & Collection. 168
8.3 Lazar Khidekel, Linear Suprematism, 1920, India ink on paper, 22× 12.1 cm., Lazar Khidekel Family Archive & Collection. 169
8.4 Lazar Khidekel, Volumetric Exploration of the Cross: Suprematist Axonometric Drawing, [Relief] 1921, pencil on paper, 20.5× 12.6 cm., Lazar Khidekel Family Archive & Collection. 172
8.5 Lazar Khidekel. Suprematist Composition in the Cosmos, 1922, India ink, watercolour and pencil on paper, 16× 12.2 cm., Lazar Khidekel Family Archive & Collection. 174
8.6 Lazar Khidekel, Suprematist Space, 1921, India ink and silver paint on paper, 15.4× 20 cm., Lazar Khidekel Family Archive & Collection. 175
8.7 Lazar Khidekel. Architecton, 1924, pencil on paper, 21× 13 cm., Lazar Khidekel Family Archive & Collection. 176
8.8 Lazar Khidekel. Architecton, 1927, India ink, gouache and pencil on paper, 23.8× 18 cm., Lazar Khidekel Family Archive & Collection. 177
8.9 Lazar Khidekel, Ashtray, 1922, Photograph of the model, Lazar Khidekel Family Archive & Collection. 178
List of Illustrations xiii
8.10 Lazar Khidekel. Design for Horizontal Architecton – Aero-Club Axonometry 1923, pencil on paper, 8.8× 12.6 cm., Lazar Khidekel Family Archive & Collection. 179
8.11 Lazar Khidekel, ‘On Painterly Pure Action in Nature’, c. 1920-1921, manuscript, India ink and watercolour on paper 23.5× 18.5 cm., Lazar Khidekel Family Archive & Collection. 180
8.12 Lazar Khidekel, Design for TheWorkers’ Club, 1926, showing two facades, Lazar Khidekel Family Archive & Collection. 182
8.13 A page fromMalevich’s article, showing reproductions, which are labelled ‘Suprematistische Architektur von K. Malewitsch, Leningrad’,Wasmuths Monatshefte fur Baukunst (Berlin), No. 10 (1927), p. 413. 183
8.14 Lazar Khidekel. Sketch for a Futuristic City, 1925, gouache, watercolour and pencil on paper, 24.9× 29.2 cm., Lazar Khidekel Family Archive & Collection. 186
Yulia Karpova
10.1 Kazimir Malevich (pattern), A. N. Kudriavtsev (painting), plate ‘Dynamic Composition’, 1923, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 204
10.2 Ilia Chashnik (pattern), plate from dinner service ‘Black Ribbon’, 1923, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 206
10.3 Nikolai Suetin (pattern), cup and saucer ‘Black andWhite’, 1923, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 207
10.4 Kazimir Malevich, Teapot, 1923, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 208
10.5 Nikolai Suetin, ‘Architecton’ vase, 1932-33, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 211
10.6 Nikolai Suetin (form and pattern), Ink-Stand, 1930, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 212
10.7 Nikolai Suetin (painting), service ‘Agricultural Town’, 1931, porcelain, on the form ‘Narkompros’ by Sergei Chekhonin, 1923, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 213
xiv List of Illustrations
10.8 Anna Leporskaia (form), Nina Slavina (pattern), service ‘Chess’, 1963, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 216
10.9 Inna Olevskaia (form and pattern), service ‘Blank Notebook’, 2003-4, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 219
10.10 Mark Khidekel, Architectural Dishes, 1994, porcelain, private collection. © Mark Khidekel. 220
Julia Tulovsky
11.1 Photograph of the exhibitionModern Decorative Art: Embroidery and Carpets from Artists’ Designs at the Lemercier Gallery, Moscow, 1915. Reproduced in Iskry, (Moscow), No. 45 (15 November 1915), p. 8. 223
11.2 Kazimir Malevich, Untitled (Compact Magnetic Cluster), 1916, oil on canvas, 53× 53 cm., Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice. 224
11.3 Kazimir Malevich, Suprematism No. 18, 1915, oil on canvas, 53.3× 53.3 cm., private collection. 225
11.4 Kazimir Malevich, Suprematist Composition, 1919-1920, oil on canvas, 80.3× 80.3 cm., private collection. 226
11.5 Nadezhda Udaltsova, Suprematist Composition, 1916, gouache on paper, 64× 44.5 cm., Collection George Costakis, State Museum of Contemporary Art, Thessaloniki. © The State Museum of Contemporary Art, Thessaloniki. 228
11.6 Liubov Popova, Sketch for Embroidery for the VerbovkaWorkshop, 1917, collage on paper, 12.2× 18.8 cm., Museum Tsaritsyno, Moscow. 230
11.7 Liubov Popova, Sketch for Embroidery for the VerbovkaWorkshop, 1917, gouache and lacquer on paper, 31× 21.2 cm., private collection. 231
11.8 Oliver Sayler, Photograph of the Second Verbovka Exhibition, 1917, private collection, New York. 232
11.9 Nadezhda Udaltsova, Suprematist Embroidery. An exhibit from the Second Verbovka Exhibition, 1917. Photograph by Oliver Sayler, private collection, New York. 233
11.10 Kazimir Malevich, Textile Design No. 10, 1919, watercolour and pencil on paper, 35.8× 27.1 cm., State Russian Museum, St. Petersburg. 234
11.11 Kazimir Malevich, Textile Design No. 15, 1919, watercolour and pencil on paper, 35.6× 27 cm., State Russian Museum, St. Petersburg. 235
11.12 Kazimir Malevich, First Suprematist Fabric, 1919, printed fabric glued on paper, ink and gouache, 20× 9.6 cm., (fabric); 33.8× 24 ., (paper), State Russian Museum, St. Petersburg. 236
List of Illustrations xv
11.13 Nikolai Suetin, Suprematist Forms. Textile Design, 1921, ink on paper, 23.4× 32.4 ., private collection. 237
11.14 Nikolai Suetin, Suprematist Forms. Textile Design, 1921-1922, gouache and watercolour on paper, 27× 40 cm., private collection. 237
11.15 Ilia Chashnik, Textile Design, 1920s, gouache and watercolour on paper, 14.8× 14 cm., private collection. 238
11.16 Ilia Chashnik, Textile Design, 1925-1927, watercolour on paper, 32.4× 47.1 cm., State Russian Museum, St. Petersburg. 239
Éva Forgács
12.1 Kazimir Malevich with members of the Polish art world, at the Banquet held in his honour, during his exhibition at the Polonia Hotel, Warsaw, 25 March 1927. Photographer unknown. 248
12.2 Lajos Vajda, Handwritten copy of Malevich’s article from the Europa Almanach, c. 1928, private collection, Budapest. 252
12.3 Lajos Vajda, Abstract Composition, 1928, charcoal on paper, 19× 19 cm., private collection. 253
12.4 Lajos Vajda, Film, 1928, charcoal and watercolour on paper, 48.69× 56.8 cm., private collection. 254
Christina Lodder
13.1 Installation photograph of Kazimir Malevich’s display of Suprematist Paintings at The Last Futurist Exhibition of Paintings, 0.10 (Zero-Ten), in Petrograd, 19 December 1915 – 19 January 1916. Photograph private collection. 261
13.2 Vladimir Tatlin, Corner Counter-Relief, 1915, paint, wire, wood and various metals, Lost. Presumed destroyed. 263
13.3 Kazimir Malevich, Suprematist Composition: Airplane Flying, 1915, oil on canvas, 57.3× 47.3 cm., The Museum of Modern Art, New York. © Photo SCALA, Florence. 265
13.4 Kazimir Malevich, Suprematist Composition: Airplane Flying, 1915, oil on canvas, 57.3× 47.3 cm., The Museum of Modern Art, New York. © Photo SCALA, Florence. Details. 266
13.5 Vladimir Tatlin,Model for a Monument to the Third International, 1920, wood, metal and wire. Lost, presumed destroyed. Drawing from Nikolai Punin, Pamiatnik III internatsionala (Petrograd: Izdanie Otdela Izobrazitel’nykh Iskusstv, N. K. P., 1920). 270
xvi List of Illustrations
13.6 Ilia Chashnik, Project for a Tribune for a Smolensk Square, 1920, as reproduced in Unovis. Listok Vitebskogo Tvorkoma, No. 1 (20 November 1920). Photograph courtesy of the Lazar Khidekel Family Archive & Collection. 271
13.7 Installation…
Jeffrey P. Brooks (The Johns Hopkins University) Christina Lodder (University of Kent)
Volume 22
The titles published in this series are listed at brill.com/rhc
Edited by
Christina Lodder
Cover illustration: Installation photograph of Kazimir Malevich’s display of Suprematist Paintings at The Last Futurist Exhibition of Paintings, 0.10 (Zero-Ten), in Petrograd, 19 December 1915 – 19 January 1916. Photograph private collection.
Library of Congress Cataloging-in-Publication Data
Names: Lodder, Christina, 1948- editor. Title: Celebrating Suprematism : new approaches to the art of Kazimir Malevich / edited by Christina
Lodder. Description: Leiden ; Boston : Brill, [2019] | Series: Russian history and culture, ISSN 1877-7791 ; Volume 22 |
Includes bibliographical references and index. Identifiers: LCCN 2018037205 (print) | LCCN 2018046303 (ebook) | ISBN 9789004384989 (E-book) | ISBN
9789004384873 (hardback : alk. paper) Subjects: LCSH: Malevich, Kazimir Severinovich, 1878-1935–Criticism and interpretation. | Suprematism in
art. | UNOVIS (Group) Classification: LCC N6999.M34 (ebook) | LCC N6999.M34 C45 2019 (print) | DDC 700.92–dc23 LC record available at https://lccn.loc.gov/2018037205
Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface.
ISSN 1877-7791 ISBN 978-90-04-38487-3 (hardback) ISBN 978-90-04-38498-9 (e-book)
Copyright 2019 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh andWilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change.
This book is printed on acid-free paper and produced in a sustainable manner.
Introduction 1 Christina Lodder
1 New Information Concerning The Black Square 11 Irina Vakar
2 Defining Suprematism: The Year of Discovery 29 Charlotte Douglas
3 Malevich, the Fourth Dimension, and the Ether of Space One Hundred Years Later 44
Linda Dalrymple Henderson
4 The Path of Empirical Criticism in Russia or ‘TheMilkyWay of Inventors’ 81
Alexander Bouras
5 Kazimir Malevich, Unovis, and the Poetics of Materiality 105 Maria Kokkori, Alexander Bouras and Irina Karasik
6 Branches of Unovis in Smolensk and Orenburg 126 Alexander Lisov
7 Suprematism and/or Supremacy of Architecture 144 Samuel Johnson
8 Lazar Khidekel and Suprematism as an Embodiment of the Infinite 161
Regina Khidekel
9 ‘…In our time, when it becameWe…’: A Previously Unknown Essay by Kazimir Malevich 187
Tatiana Goriacheva
vi Contents
10 ‘A thing of quality defies being produced in quantity’: Suprematist Porcelain and Its Afterlife in Leningrad Design 198
Yulia Karpova
11 Suprematist Textiles 221 Julia Tulovsky
12 Suprematism: A Shortcut into the Future: The Reception of Malevich by Polish and Hungarian Artists during the Inter-War Period 240
Éva Forgács
Christina Lodder
Index 289
Acknowledgements
The contents of this volume are based on papers that were originally delivered at the conference – ‘Celebrating 100 Years of Suprematism’ – which was held at the Harriman Institute, Columbia University New York, in December 2015, under the auspices of the Malevich Society, the Harriman Institute, the Lazar Khidekel Society, the Society of Historians of Eastern European, Eurasian and Russian Art and Architecture (SHERA), and the organisation Russian Art and Culture. A great debt of gratitude is owed to the Harriman Institute for host- ing the conference, and especially to Professor Alan Timberlake and his team for their exceptional generosity, organisational skill and kindness. In addition, as President of the Malevich Society, the editor would like to thank every- one for their co-operation, including Regina and Mark Khidekel of the Lazar Khidekel Society, Natasha Kurchanova of SHERA, andmembers of the Board of theMalevich Society, especially Professor Charlotte Douglas, DrMaria Kokkori and Dr Julia Tulovsky. A special debt of gratitude is owed to the Director of the State Tretyakov Gallery in Moscow, Dr Zelfira Tregulnova for facilitating and supporting this whole venture in so many ways.
The editor is extremely grateful to all those contributors who agreed to publish their papers in this collection, for their patience in dealing with end- less queries and their diligence in meeting deadlines. In addition, the editor would like to thank Professor Jeffrey Brooks for his invaluable suggestions and to the various private individuals and institutions that have given per- mission for works and images to be reproduced, especially The State Tretyakov Gallery, Moscow; The State Literary Museum, Moscow; The Museum Tsarit- syno, Moscow; The State Hermitage Museum, St. Petersburg; The State Mu- seum of Theatre and Music, St. Petersburg; The State Russian Museum, St. Petersburg; The State Mustafaev Azerbaijan Museum of Art, Baku; The State Radishchev Museum, Saratov; The Art Institute of Chicago; The Stedelijk Mu- seum, Amsterdam; The Getty Research Institute, Los Angeles; The Houghton Library, Harvard University, Boston; The Solomon R. Guggenheim Foundation, New York, and The Peggy Guggenheim Collection, Venice; The Museum of Modern Art, New York; Dr Maria Tsantsangolou and The State Museum of Contemporary Art, Thessaloniki; The Lazar Khidekel Family Archive & Collec- tion, New York; and Dr Alexander Lavrentiev and The Rodchenko-Stepanova Archive, Moscow.
All the scholars involved in this publication would also like to take this opportunity to express their particular gratitude to the staff of the follow- ing archives, libraries, and galleries who gave them assistance and advice in
viii Acknowledgements
the course of their research: The State Russian Museum and The Manuscript Department of the State Russian Museum, St. Petersburg; The Russian State Archive of Literature and Art, Moscow; The State Tretyakov Gallery, Moscow; The Rodchenko-Stepanova Archive, Moscow; The State Archive of Vitebsk Province, Vitebsk; The Museum of Modern Art, New York; and The Lazar Khidekel Archive, New York.
Finally, the editor would like to thank all the staff at Brill, especially Ivo Romein and Saskia van der Knaap for their help and support in realising this publication, as well as family and friends for being there when things got tough. A big thank you to you all!
List of Illustrations
Irina Vakar
1.1 Kazimir Malevich, The Black Square, 1915, oil on canvas, 79.5× 79.5 cm., State Tretyakov Gallery, Moscow. 12
1.2 Kazimir Malevich, The Black Square, 1915, pencil on paper, 9× 8.2 cm., State Literary Museum, Moscow. 15
1.3 Kazimir Malevich, Design of a Backdrop for the First Act of the Opera ‘Victory over the Sun’, 1915, pencil on paper, 10× 9.5 cm., State Literary Museum, Moscow. 16
1.4 Kazimir Malevich, Suprematist Composition, 1915, oil on canvas, 101.5× 62 cm., Stedelijk Museum, Amsterdam. 17
1.5 Consolidated Radiograph image of the paintings beneath The Black Square. The image represents the consolidation of 12 x-rays. Photograph courtesy of The State Tretyakov Gallery, Moscow. 19
1.6 Radiograph showing a reconstruction of the first painting, a Cubo-Futurist Composition. Photograph courtesy of The State Tretyakov Gallery, Moscow. 20
1.7 Kazimir Malevich, The Guardsman, 1913, oil on canvas, 57× 66.5 cm., Stedelijk Museum, Amsterdam. 21
1.8 Radiograph of Kazimir Malevich, The Black Square, 1915, revealing a Proto-Suprematist Composition underneath. Photograph courtesy of The State Tretyakov Gallery, Moscow. 22
1.9 Kazimir Malevich, The Black Square, 1915, oil on canvas, 79.5× 79.5 cm., State Tretyakov Gallery, Moscow. Detail. 23
1.10 Kazimir Malevich, Design of a Backcloth for the First Scene of the Second Act of the Opera ‘Victory over the Sun’, 1913, pencil on paper, 21× 27 cm., State Museum of Theatre and Music, St. Petersburg. 25
1.11 Kazimir Malevich, Untitled Alogist Composition, early 1915, pencil on paper, private collection. 26
Linda Dalrymple Henderson
3.1 Installation photograph of Kazimir Malevich’s display of Suprematist Paintings at The Last Futurist Exhibition of Paintings, 0.10 (Zero-Ten), in Petrograd, 19 December 1915 – 19 January 1916, Petrograd. Photograph private collection. 45
3.2 Umberto Boccioni, Dynamism of a Soccer Player, 1913, oil on canvas, 193.2× 201 cm., The Sidney and Harriet Janis Collection, The Museum of Modern Art,
x List of Illustrations
New York. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, New York. 59
3.3 Kazimir Malevich, Painterly Realism of a Football Player: Colour Masses in the Fourth Dimension, 1915, oil on canvas, 70.2× 44.1 cm., The Art Institute of Chicago. Photograph: The Art Institute of Chicago / Art Resource, New York. 61
3.4 Kazimir Malevich, Suprematist Composition, 1915, oil on canvas, 66.5× 57 cm., Museum Ludwig, Cologne. Photograph Rheinisches Bildarchiv, Cologne. 69
3.5 Kazimir Malevich, Stage Design for ‘Victory over the Sun’, 1915 version, graphite on paper. Reproduced from Benedikt Livshits, Polutorglazy strelets (Leningrad, 1933). 76
3.6 Kazimir Malevich, Composition 14t (Suprematism: Sensation of Electric[ity]), 1915, graphite on paper, 15.3× 10 cm., (paper), 8.8× 4.9 cm., (image), Stedelijk Museum, Amsterdam. 78
3.7 Kazimir Malevich, Yellow Plane in Dissolution, 1917-18, oil on canvas, 10 6× 70.5 cm., Stedelijk Museum, Amsterdam. Photograph Art Resource, New York. 79
Alexander Bouras
4.1 Kazimir Malevich, The Black Quadrilateral, c. 1915, oil on canvas, 17× 24 cm., Collection George Costakis, State Museum of Contemporary Art, Thessaloniki. © The State Museum of Contemporary Art, Thessaloniki. 103
Maria Kokkori, Alexander Bouras and Irina Karasik
5.1 Unovis members, early 1920s. From left to right: Ivan Chervinka, Lazar Khidekel, Ilia Chashnik, and Lev Iudin. Photograph courtesy of the Lazar Khidekel Family Archive & Collection. 107
5.2 Lev Iudin’s table showing the five groups of materials, their signs and associated movements. © Manuscript Department of the State Russian Museum, St. Petersburg. 111
5.3a Karl Ioganson, Electrical Circuit (Representation) [Electricheskaia tsep’ (izobrazhenie)], 1922, paper collage and graphite on paper, 45.4× 33.6 cm., Collection George Costakis, State Museum of Contemporary Art, Thessaloniki. © The State Museum of Contemporary Art, Thessaloniki. 120
5.3b Karl Ioganson, Electrical Circuit (Representation) [Electricheskaia tsep’ /izobrazhenie/], 1922, verso, paper collage and graphite on paper, 45.4× 33.6 cm., Collection George Costakis, State Museum of Contemporary Art, Thessaloniki. © The State Museum of Contemporary Art, Thessaloniki. 121
List of Illustrations xi
6.2 Katarzyna Kobro (Ekaterina Kobro), Photograph taken c. 1918, private archive. 130
6.3 Boris Rybchenkov, Photograph taken c. 1918, private archive. 131 6.4 The building of the Proletkult Art Studio in Smolensk. Photograph taken in
2015, private archive. 132 6.5 Kazimir Malevich, El Lissitzky, and others, probably in Orenburg. Photograph
taken in summer 1920, private archive. 134 6.6 Wadysaw Strzemiski,What Have You Done for the Front? Give Everything to
ThoseWho Are Dying Defending You, 1920. Political poster produced for the Smolensk Russian Telegraph Agency (Rosta), during the Polish-SovietWar, private collection. 136
6.7 Boris Rybchenkov, Forward toWarsaw, 1920. Poster produced for the Smolensk Russian Telegraph Agency (Rosta), during the Polish-SovietWar, private collection. 137
6.8 Poster announcing Kazimir Malevich’s Lecture ‘On the Subject of the State, Society, Criticism and the New Artist Innovator’, Orenburg, 1920, private collection. 139
6.9 Installation photograph of works from the Orenburg Unovis, at the Unovis Exhibition at the Moscow Vkhutemas in 1921, private collection. 142
6.10 Installation photograph of works by El Lissitzky, Gustav Klutsis, and Ivan Kudriashev (of the Orenburg branch) on display at the Unovis exhibition at the Moscow Vkhutemas in 1921, private collection. 142
Samuel Johnson
7.1 El Lissitzky, Lenin Tribune, 1924, gouache, India ink and photomontage on cardboard, 63.8× 48 cm., State Tretyakov Gallery, Moscow. Photograph courtesy of The State Tretyakov Gallery. 147
7.2 Ilia Chashnik, Project for a Tribune for a Smolensk Square, 1920, gouache, graphite and India ink on paper, 48.2× 37.8 cm., State Tretyakov Gallery, Moscow. Photograph courtesy of The State Tretyakov Gallery. 148
7.3 El Lissitzky,Wolkenbügel on Niktiskii Square, c. 1925, gelatin silver print, Getty Research Institute, Los Angeles. Photograph courtesy of The Getty Research Institute. 149
xii List of Illustrations
7.4 Kazimir Malevich, Suprematist Structure Among American Skyscrapers, from Praesens No. 1 (1926). Photograph courtesy of The Getty Research Institute, Los Angeles. 151
7.5 Kazimir Malevich, Untitled, from Puti tvorchestva [The Paths of Creativity], No. 5, 1919. Photograph courtesy of Houghton Library, Harvard University. 153
7.6 El Lissitzky, Town, 1919-20, oil and sand on plywood, 47× 63.5 cm., State Mustafaev Azerbaijan Museum of Art, Baku. 155
7.7 Kazimir Malevich, Four Squares, 1915, oil on canvas, 49× 49 cm., State Radishchev Museum, Saratov. Photograph courtesy of The State Radishchev Museum. 156
7.8 Lazar Khidekel, Roads in the Lowlands (Canals): Ray of Light = 45°, pencil on paper, 17× 13 cm., private collection. Photograph courtesy of the Lazar Khidekel Family Archive & Collection. 157
Regina Khidekel
8.1 Kazimir Malevich, Suprematism: 34 Drawings (Vitebsk: Unovis, 1920). Signed by Khidekel: ‘Lazar Khidekel 1920 Vitebsk’, Lazar Khidekel Family Archive & Collection. 163
8.2 Lazar Khidekel, Drawing from the journal AERO: Articles and Projects, No. 1 (1920), India ink on paper, 17.5× 14.5 cm., Lazar Khidekel Family Archive & Collection. 168
8.3 Lazar Khidekel, Linear Suprematism, 1920, India ink on paper, 22× 12.1 cm., Lazar Khidekel Family Archive & Collection. 169
8.4 Lazar Khidekel, Volumetric Exploration of the Cross: Suprematist Axonometric Drawing, [Relief] 1921, pencil on paper, 20.5× 12.6 cm., Lazar Khidekel Family Archive & Collection. 172
8.5 Lazar Khidekel. Suprematist Composition in the Cosmos, 1922, India ink, watercolour and pencil on paper, 16× 12.2 cm., Lazar Khidekel Family Archive & Collection. 174
8.6 Lazar Khidekel, Suprematist Space, 1921, India ink and silver paint on paper, 15.4× 20 cm., Lazar Khidekel Family Archive & Collection. 175
8.7 Lazar Khidekel. Architecton, 1924, pencil on paper, 21× 13 cm., Lazar Khidekel Family Archive & Collection. 176
8.8 Lazar Khidekel. Architecton, 1927, India ink, gouache and pencil on paper, 23.8× 18 cm., Lazar Khidekel Family Archive & Collection. 177
8.9 Lazar Khidekel, Ashtray, 1922, Photograph of the model, Lazar Khidekel Family Archive & Collection. 178
List of Illustrations xiii
8.10 Lazar Khidekel. Design for Horizontal Architecton – Aero-Club Axonometry 1923, pencil on paper, 8.8× 12.6 cm., Lazar Khidekel Family Archive & Collection. 179
8.11 Lazar Khidekel, ‘On Painterly Pure Action in Nature’, c. 1920-1921, manuscript, India ink and watercolour on paper 23.5× 18.5 cm., Lazar Khidekel Family Archive & Collection. 180
8.12 Lazar Khidekel, Design for TheWorkers’ Club, 1926, showing two facades, Lazar Khidekel Family Archive & Collection. 182
8.13 A page fromMalevich’s article, showing reproductions, which are labelled ‘Suprematistische Architektur von K. Malewitsch, Leningrad’,Wasmuths Monatshefte fur Baukunst (Berlin), No. 10 (1927), p. 413. 183
8.14 Lazar Khidekel. Sketch for a Futuristic City, 1925, gouache, watercolour and pencil on paper, 24.9× 29.2 cm., Lazar Khidekel Family Archive & Collection. 186
Yulia Karpova
10.1 Kazimir Malevich (pattern), A. N. Kudriavtsev (painting), plate ‘Dynamic Composition’, 1923, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 204
10.2 Ilia Chashnik (pattern), plate from dinner service ‘Black Ribbon’, 1923, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 206
10.3 Nikolai Suetin (pattern), cup and saucer ‘Black andWhite’, 1923, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 207
10.4 Kazimir Malevich, Teapot, 1923, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 208
10.5 Nikolai Suetin, ‘Architecton’ vase, 1932-33, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 211
10.6 Nikolai Suetin (form and pattern), Ink-Stand, 1930, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 212
10.7 Nikolai Suetin (painting), service ‘Agricultural Town’, 1931, porcelain, on the form ‘Narkompros’ by Sergei Chekhonin, 1923, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 213
xiv List of Illustrations
10.8 Anna Leporskaia (form), Nina Slavina (pattern), service ‘Chess’, 1963, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 216
10.9 Inna Olevskaia (form and pattern), service ‘Blank Notebook’, 2003-4, porcelain, The State Hermitage Museum, St. Petersburg. Photograph © The State Hermitage Museum. Photograph by Vladimir Terebenin. 219
10.10 Mark Khidekel, Architectural Dishes, 1994, porcelain, private collection. © Mark Khidekel. 220
Julia Tulovsky
11.1 Photograph of the exhibitionModern Decorative Art: Embroidery and Carpets from Artists’ Designs at the Lemercier Gallery, Moscow, 1915. Reproduced in Iskry, (Moscow), No. 45 (15 November 1915), p. 8. 223
11.2 Kazimir Malevich, Untitled (Compact Magnetic Cluster), 1916, oil on canvas, 53× 53 cm., Solomon R. Guggenheim Foundation, Peggy Guggenheim Collection, Venice. 224
11.3 Kazimir Malevich, Suprematism No. 18, 1915, oil on canvas, 53.3× 53.3 cm., private collection. 225
11.4 Kazimir Malevich, Suprematist Composition, 1919-1920, oil on canvas, 80.3× 80.3 cm., private collection. 226
11.5 Nadezhda Udaltsova, Suprematist Composition, 1916, gouache on paper, 64× 44.5 cm., Collection George Costakis, State Museum of Contemporary Art, Thessaloniki. © The State Museum of Contemporary Art, Thessaloniki. 228
11.6 Liubov Popova, Sketch for Embroidery for the VerbovkaWorkshop, 1917, collage on paper, 12.2× 18.8 cm., Museum Tsaritsyno, Moscow. 230
11.7 Liubov Popova, Sketch for Embroidery for the VerbovkaWorkshop, 1917, gouache and lacquer on paper, 31× 21.2 cm., private collection. 231
11.8 Oliver Sayler, Photograph of the Second Verbovka Exhibition, 1917, private collection, New York. 232
11.9 Nadezhda Udaltsova, Suprematist Embroidery. An exhibit from the Second Verbovka Exhibition, 1917. Photograph by Oliver Sayler, private collection, New York. 233
11.10 Kazimir Malevich, Textile Design No. 10, 1919, watercolour and pencil on paper, 35.8× 27.1 cm., State Russian Museum, St. Petersburg. 234
11.11 Kazimir Malevich, Textile Design No. 15, 1919, watercolour and pencil on paper, 35.6× 27 cm., State Russian Museum, St. Petersburg. 235
11.12 Kazimir Malevich, First Suprematist Fabric, 1919, printed fabric glued on paper, ink and gouache, 20× 9.6 cm., (fabric); 33.8× 24 ., (paper), State Russian Museum, St. Petersburg. 236
List of Illustrations xv
11.13 Nikolai Suetin, Suprematist Forms. Textile Design, 1921, ink on paper, 23.4× 32.4 ., private collection. 237
11.14 Nikolai Suetin, Suprematist Forms. Textile Design, 1921-1922, gouache and watercolour on paper, 27× 40 cm., private collection. 237
11.15 Ilia Chashnik, Textile Design, 1920s, gouache and watercolour on paper, 14.8× 14 cm., private collection. 238
11.16 Ilia Chashnik, Textile Design, 1925-1927, watercolour on paper, 32.4× 47.1 cm., State Russian Museum, St. Petersburg. 239
Éva Forgács
12.1 Kazimir Malevich with members of the Polish art world, at the Banquet held in his honour, during his exhibition at the Polonia Hotel, Warsaw, 25 March 1927. Photographer unknown. 248
12.2 Lajos Vajda, Handwritten copy of Malevich’s article from the Europa Almanach, c. 1928, private collection, Budapest. 252
12.3 Lajos Vajda, Abstract Composition, 1928, charcoal on paper, 19× 19 cm., private collection. 253
12.4 Lajos Vajda, Film, 1928, charcoal and watercolour on paper, 48.69× 56.8 cm., private collection. 254
Christina Lodder
13.1 Installation photograph of Kazimir Malevich’s display of Suprematist Paintings at The Last Futurist Exhibition of Paintings, 0.10 (Zero-Ten), in Petrograd, 19 December 1915 – 19 January 1916. Photograph private collection. 261
13.2 Vladimir Tatlin, Corner Counter-Relief, 1915, paint, wire, wood and various metals, Lost. Presumed destroyed. 263
13.3 Kazimir Malevich, Suprematist Composition: Airplane Flying, 1915, oil on canvas, 57.3× 47.3 cm., The Museum of Modern Art, New York. © Photo SCALA, Florence. 265
13.4 Kazimir Malevich, Suprematist Composition: Airplane Flying, 1915, oil on canvas, 57.3× 47.3 cm., The Museum of Modern Art, New York. © Photo SCALA, Florence. Details. 266
13.5 Vladimir Tatlin,Model for a Monument to the Third International, 1920, wood, metal and wire. Lost, presumed destroyed. Drawing from Nikolai Punin, Pamiatnik III internatsionala (Petrograd: Izdanie Otdela Izobrazitel’nykh Iskusstv, N. K. P., 1920). 270
xvi List of Illustrations
13.6 Ilia Chashnik, Project for a Tribune for a Smolensk Square, 1920, as reproduced in Unovis. Listok Vitebskogo Tvorkoma, No. 1 (20 November 1920). Photograph courtesy of the Lazar Khidekel Family Archive & Collection. 271
13.7 Installation…
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