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.
Aleksandra Aleksandrovna Ekster, also known as Alexandra Exter, was a Russian and French painter and designer.
Lyubov Sergeyevna Popova was a Russian-Soviet avant-garde artist, painter and designer.
Aleksei Yeliseyevich Kruchyonykh was a Soviet and Russian poet, artist, and theorist, perhaps one of the most radical poets of Russian Futurism, a movement that included Vladimir Mayakovsky, David Burliuk and others. Born in 1886, he lived in the time of the Russian Silver Age of literature, and together with Velimir Khlebnikov, another Russian Futurist, Kruchenykh is considered the inventor of zaum, a poetry style utilising nonsense words. Kruchonykh wrote the libretto for the Futurist opera Victory Over the Sun, with sets provided by Kazimir Malevich. In 1912, he wrote the poem Dyr bul shchyl; four years later, in 1916, he created his most famous book, Universal War.
UNOVIS was a short-lived but influential group of artists, founded and led by Russian painter Kazimir Malevich at the Vitebsk Art School in 1919.
Cubo-Futurism or Kubo-Futurizm was an art movement, developed within Russian Futurism, that arose in early 20th century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. In 1913, the term "Cubo-Futurism" first came to describe works from members of the poetry group "Hylaeans", as they moved away from poetic Symbolism towards Futurism and zaum, the experimental "visual and sound poetry of Kruchenykh and Khlebninkov". Later in the same year the concept and style of "Cubo-Futurism" became synonymous with the works of artists within Ukrainian and Russian post-revolutionary avant-garde circles as they interrogated non-representational art through the fragmentation and displacement of traditional forms, lines, viewpoints, colours, and textures within their pieces. The impact of Cubo-Futurism was then felt within performance art societies, with Cubo-Futurist painters and poets collaborating on theatre, cinema, and ballet pieces that aimed to break theatre conventions through the use of nonsensical zaum poetry, emphasis on improvisation, and the encouragement of audience participation.
Nina Henrichovna Genke [Hɛŋkə] or Nina Henrichovna Genke-Meller, or Nina Henrichovna Henke-Meller was a Ukrainian-Russian avant-garde artist,, designer, graphic artist and scenographer.
David Davidovich Burliuk was a Russian poet, artist and publicist of Ukrainian origin associated with the Futurist and Neo-Primitivist movements. Burliuk has been described as "the father of Russian Futurism."
Olga Vladimirovna Rozanova was a Russian avant-garde artist painting in the styles of Suprematism, Neo-Primitivism, and Cubo-Futurism.
Vladimir Davydovych Burliuk was a Ukrainian avant-garde artist and book illustrator from the Russian empire. He died at the age of 32 in 1917 in World War I.
Kliment Nikolaevich Red'ko or Redko, 15 (27) October 1897 - 18 February 1956) was a Ukrainian-Russian painter-scientist, avant-garde artist, graphic artist.
Zveno (Link) was a group of Ukrainian avant-garde artists formed in the first decade of the 20th century by brothers David Burliuk and Wladimir Burliuk.
Russian Futurism is the broad term for a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Manifesto of Futurism", which espoused the rejection of the past, and a celebration of speed, machinery, violence, youth, industry, destruction of academies, museums, and urbanism; it also advocated for modernization and cultural rejuvenation.
Soyuz Molodyozhi was an artistic group and an art magazine of Russian avant-garde organized in 1910. There were more than 30 members of the group and most of other Russian avant-garde participated in their exhibitions.
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 favor around 1932. It has left marked effects on later developments in architecture.
Universal War is an artist's book by Aleksei Kruchenykh published in Petrograd at the beginning of 1916. Despite being produced in an edition of 100 of which only 12 are known to survive, the book has become one of the most famous examples of Russian Futurist book production, and is considered a seminal example of avant-garde art from the beginning of the twentieth century.
Michael Vasilyevich Matyushin was a Russian painter and composer, leading member of the Russian avant-garde.
Ukrainian avant-garde is the avant-garde movement in Ukrainian art from the end of 1890s to the middle of the 1930s along with associated artists in sculpture, painting, literature, cinema, theater, stage design, graphics, music, and architecture. Some well-known Ukrainian avant-garde artists include: Kazimir Malevich, Alexander Archipenko, Vladimir Tatlin, Sonia Delaunay, Vasyl Yermylov, Alexander Bogomazov, Aleksandra Ekster, David Burliuk, Vadym Meller, and Anatol Petrytsky. All were closely connected to the Ukrainian cities of Kyiv, Kharkiv, Lviv, and Odesa by either birth, education, language, national traditions or identity. Since it originated when Ukraine was part of the Russian Empire, Ukrainian avant-garde has been commonly lumped by critics into the Russian avant-garde movement.
The Last Futurist Exhibition of Paintings 0,10 was an exhibition presented by the Dobychina Art Bureau at Marsovo Pole, Petrograd, from 19 December 1915 to 17 January 1916. The exhibition was important in inaugurating a form of non-objective art called Suprematism, introducing a daring visual vernacular composed of geometric forms of varying colour, and in signifying the end of Russia's previous leading art movement, Cubo-Futurism, hence the exhibition's full name. The sort of geometric abstraction relating to Suprematism was distinct in the apparent kinetic motion and angular shapes of its elements.
Lazar Markovich Khidekel was an artist, designer, architect and theoretician, who is noted for realizing the abstract, avant-garde Suprematist movement through architecture.
