Ilya Grigorevich Chashnik | |
|---|---|
 | |
| Born | June 26, 1902 |
| Died | March 4, 1929 |
| Nationality | Russian |
| Education | UNOVIS school |
| Movement | suprematism |
Ilya Grigorevich Chashnik (1902, Lucyn, Russian Empire, currently Ludza, Latvia - 1929, Leningrad) was a suprematist artist, a pupil of Kazimir Malevich and a founding member of the UNOVIS school. [1] [2]
Chashnik was born to a Jewish family in 1902, Lucyn, Russian Empire, currently Ludza, Latvia. He started studying in Yehuda Pen's art school at Vitebsk when he was just eleven years old. [3] He became a student of Marc Chagall. [3] By 1918, he moved to Moscow to work in an art workshop directed by Kazimir Malevich. [3] He returned after Malevich accepted a senior teaching position at Vitebsk School of Drawing and Painting. [3]
Chashnik was notably able in a variety of media. Aleksandra Semenovna Shatskikh describes him as "famous for his inexhaustible inventiveness and ability to apply Suprematist principles to virtually all forms of art, including easel painting." [4] He painted, was proficient in metalwork, and designed ceramics produced at the Imperial Porcelain Factory (then known as the Lomonosov Porcelain Factory). [4] [5] Chasnik, along with Nikolai Suetin, was recruited by the factory during his time as a UNOVIS member. [6]
He died in 1929 in Leningrad, at the age of 27.
The University of Texas at Austin held an exhibition dedicated to his works in 1981. [7]
Kazimir Severinovich Malevich was a Russian avant-garde artist and art theorist, whose pioneering work and writing influenced the development of abstract art in the 20th century. He was born in Kiev, to an ethnic Polish family. His concept of Suprematism sought to develop a form of expression that moved as far as possible from the world of natural forms (objectivity) and subject matter in order to access "the supremacy of pure feeling" and spirituality. Malevich is also sometimes considered to be part of the Ukrainian avant-garde that was shaped by Ukrainian-born artists who worked first in Ukraine and later over a geographical span between Europe and America.
Ludza is a town in the Latgale region of eastern Latvia. Ludza is the oldest town in Latvia and this is commemorated by a key in its coat of arms. Ludza is the administrative centre of Ludza Municipality that is located nearby the Russian border. The population as of 2020 was 7,667.
Suprematism is an early twentieth-century art movement focused on the fundamentals of geometry, painted in a limited range of colors. The term suprematism refers to an abstract art based upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects.
UNOVIS was a short-lived but influential group of artists, founded and led by Kazimir Malevich at the Vitebsk Art School in 1919.
The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum, Imaginism, and Neo-primitivism. Many of the artists who were born, grew up or were active in what is now Belarus and Ukraine, are also classified in the Ukrainian avant-garde.
Olga Vladimirovna Rozanova was a Russian avant-garde artist painting in the styles of Suprematism, Neo-Primitivism, and Cubo-Futurism.
Ivan Albertovich Puni was a Russian avant-garde artist.
Nadezhda Andreevna Udaltsova was a Russian avant-garde artist, painter and teacher.
Nikolai Suetin was a Russian Suprematist artist. He worked as a graphic artist, a designer, and a ceramics painter.
Lazar Markovich Lissitzky, better known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.
Constructivist architecture was a constructivist style of modern architecture that flourished in the Soviet Union in the 1920s and early 1930s. Abstract and austere, the movement aimed to reflect modern industrial society and urban space, while rejecting decorative stylization in favor of the industrial assemblage of materials. Designs combined advanced technology and engineering with an avowedly communist social purpose. Although it was divided into several competing factions, the movement produced many pioneering projects and finished buildings, before falling out of favour around 1932. It has left marked effects on later developments in architecture.
Ivan Vasilievich Kliun, or Klyun, born Klyunkov was a Russian Avant-Garde painter, sculptor and art theorist, associated with the Suprematist movement.
Vitebsk Museum of Modern Art was an art museum in Vitebsk, Belarus organized in 1918 by Marc Chagall, Kazimir Malevich and Alexander Romm. In 1921, it exhibited 120 paintings "representing all the movements of the contemporary art from the Academic Realism to Impressionism to Suprematism". In the mid-1920s, the museum was closed. While some paintings have found their way to museums of Russia and Belarus, the whereabouts of many paintings are unknown.
Black Circle is a 1924 oil on canvas painting by the Kiev-born Russian artist Kazimir Malevich, founder of the Russian Suprematism movement. From the mid-1910s, Malevich abandoned any trace of figurature or representation from his paintings in favour of pure abstraction.
Suprematist Composition: White on White (1918) is an abstract oil-on-canvas painting by Kazimir Malevich. It is one of the more well-known examples of the Russian Suprematism movement, painted the year after the October Revolution.
The fine art of Leningrad is an important component of Russian Soviet art—in the opinion of the art historians Vladimir Gusev and Vladimir Leniashin, "one of its most powerful currents". This widely used term embraces the creative lives and the achievements of several generations of Leningrad painters, sculptors, graphic artists and creators of decorative and applied art from 1917 to the early 1990s.
Lazar Markovich Khidekel was an artist, designer, architect and theoretician, who is noted for realizing the abstract, avant-garde Suprematist movement through architecture.
Vera Ermolaeva was a Russian painter, graphic artist and illustrator who participated in the Russian avant-garde movement.
Aleksei Alekseevich Morgunov was a Russian Avant-Garde painter. His works were originally in the Neo-Primitivist style, but became influenced by Fauvism. Together with Kazimir Malevich and Ivan Kliun, he created a style known as "Februaryism". He later took up Neo-Classicism, then was forced to adopt the Socialist Realism model.
Nina Kogan (1887–1942) was a Russian painter known for her Suprematist works.
With Suetin he planned the working class residential area of the Bolshevik factory in that city and he was closely linked to all the group of painters who made up the *Russian avant-gardes*; he was a founder member of the UNOVIS, whose initial programme contemplated the need to create new forms that would allow the construction of a new society.
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