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THE UNIVERSITY OF CHICAGO KAZIMIR MALEVICH AND RUSSIAN MODERNISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY DANIEL KALMAN PHILLIPS CHICAGO, ILLINOIS JUNE 2017 Copyright © 2017 by Daniel Kalman Phillips All rights reserved. TABLE OF CONTENTS LIST OF FIGURES ............................................................................................. iv ACKNOWLEDGEMENTS .............................................................................. viii ABSTRACT ............................................................................................................x INTRODUCTION MALEVICH, ART, AND HISTORY .......................................................................1 CHAPTER ONE MODERNISMS BEFORE SUPREMATISM........................................................18 CHAPTER TWO AN ARTIST OF THE NINETEENTH CENTURY ...............................................71 CHAPTER THREE SUPREMATISM IN 1915 ...................................................................................120 CHAPTER FOUR CODA: SUPREMATISMS AFTER SUPREMATISM .......................................177 WORKS CITED................................................................................................. 211 iii LIST OF FIGURES1 0.1 Kazimir Malevich, Black Square, 1915. 0.2 Kazimir Malevich, [Airplane Flying], 1915. 0.3 John Baldessari, Violent Space Series: Two Stares Making a Point but Blocked by a Plane (for Malevich), 1976. 0.4 Yves Klein, Malévitch ou l’éspace, Vu de loin, 1976–77. 0.5 Zaha Hadid, Malevich’s Tektonik, 1976–77. 0.6 Francisco Infante, Suprematistic Games, 1968. 0.7 Collective Actions, photograph of action Appearance, 1976. 0.8 Dmtrii Prigov, Installation, 2014. 0.9 Aleksandr Brener, photograph of dollar sign painted on Kazimir Malevich’s [White Cross] (1920) in the Stedelijk Museum Amsterdam, 1997. 0.10 Blinky Palermo, Composition with Eight Red Rectangles, 1964. 0.11 Kazimir Malevich, [Eight Red Rectangles], 1915 1.1 Kazimir Malevich, Church, 1905. 1.2 Konstantin Korovin, Paris Café, 1890s. 1.3 Valentin Serov, The Children Sasha and Yulia Serov, 1899. 1.4 Valentin Serov, Portrait of Nicholas II, 1900. 1.5 Valentin Serov, Girl with Peaches, 1887. 1.6 Kazimir Malevich, Landscape with a Yellow House (Winter Landscape), ca. 1906. 1.7 Kazimir Malevich, Landscape, ca. 1906. 1.8 Arkhip Kuindzhi, Moonlit Night on the Dniepr, ca. 1880. 1.9 Arkhip Kuindzhi, Birch Grove, ca. 1870. 1 I have intentionally omitted the figures from this dissertation due to copyright issues. My reader will be able to locate the vast majority by examining various exhibition catalogues. iv 1.10 Claude Monet, On the Bank of the Seine, Bennecourt, 1868. 1.11 Konstantin Korovin, At the Balcony. The Spaniards Lenora and Ampara, 1897-1898. 1.12 L.F. Shmidt-Ryzhovaia, Sources and Systems, 1910. 1.13 Kazimir Malevich, Decorative Motif, 1908. 1.14 Photograph of the Picasso room in the Shchukin mansion, after 1913. 1.15 Vasilii Kamensky, from Tango with Cows, 1914. 1.16 Kazimir Malevich, Triumph of the Heavens, 1907. 1.17 Viktor Borisov-Musatov, Tapestry, 1901. 1.18 Mikhail Vrubel, Lilacs, 1900. 1.19 Léon Bakst, Portrait of Zinaida Gippius, 1905. 1.20 Kazimir Malevich, Sketch for Fresco, 1907. 1.21 Kazimir Malevich, Self-Portrait, 1907. 1.22 Paul Gauguin, Te Arii Vahine, 1896. 1.23 Kazimir Malevich, Untitled, 1910. 1.24 Kazimir Malevich, Golgotha, ca. 1911-1912. 1.25 Kazimir Malevich, Untitled, 1908. 1.26 Anon., Deposition, late fifteenth century. 1.27 Kazimir Malevich, Reaper, ca. 1912. 1.28 Pablo Picasso, Three Women, 1908. 1.29 Kazimir Malevich, Woodcutter, ca. 1912. 1.30 Kazimir Malevich, Sewing Machine, 1913. 1.31 Pablo Picasso, Table in a Café (Bottle of Pernod), 1912. 1.32 Kazimir Malevich, Knife Grinder, 1912-1913. 1.33 Kazimir Malevich, Woman at a Poster Column, 1914. 2.1 Aleksandr Ivanov, The Appearance of Christ to the People, 1837–1857. v 2.2 Andrei Rublev, Old Testament Trinity, 1425–1427 (?). 2.3 Simon Ushakov, Savior Not Made by Human Hands, 1658. 2.4 The Venerable Zosima and Maria of Egypt, eighteenth century. 2.5 By God’s Grace . ., 1837. 2.6 Viktor Vasnetsov, God the Father, 1885–96. 2.7 Erik Bulatov, Picture and Viewers, 2012–13. 2.8 Thomas Struth, Louvre 4, 1989. 3.1 Installation view of the 0.10 exhibition. 3.2 El Lissitzky, Proun Room (reconstruction), 1923 (2010). 3.3 Kazimir Malevich, Painterly Realism of a Football Player: Color Masses in the Fourth Dimension, 1915. 3.4 Kazimir Malevich, [Black Cross], 1915. 3.5 Kazimir Malevich, Painterly Masses in Motion, 1915. 3.6 Kazimir Malevich, [Suprematist Composition], 1915. 3.7 Vladimir Tatlin, Counter-Relief, 1913. 3.8 Ivan Puni, Relief with White Ball (reconstruction), 1915. 3.9 Ivan Kliun, Running Landscape, 1915. 3.10 Umberto Boccioni, States of Mind I: The Farewells, 1911. 3.11 Giacomo Balla, Dynamic Expansion and Speed, 1913. 3.12 Giacomo Balla, Dynamism of a Dog in Motion, 1912. 3.13 Mikhail Larionov, Venus, 1912. 3.14 Alphonse Allais (after Paul Bilhaud), Combat de Nègres dans une cave pendant la nuit, 1887. 3.15 Kazimir Malevich, The Purse Was Dragged Out in the Tram, 1915. 3.16 Kazimir Malevich, [Composition with Blue Triangle and Black Rectangle], 1915. 3.17 Photograph of UNOVIS installation, 1923. vi 3.18 Liubov Popova, Still Life, 1915. 4.1 Kazimir Malevich, [Suprematist Element: the Moment of Dissolution of Sensation (of Non-Objectivity)], 1917. 4.2 El Lissitzky, Beat the Whites with the Red Wedge, 1919. 4.3 Kazimir Malevich (with Nikolai Suetin), various arkhitektons, photographed at GINKhUK, 1926. 4.4 Ivan Leonidov, Model for Lenin Institute and Library, 1927. 4.5 Kazimir Malevich, Arkhitekton “Zeta,” 1920s. 4.6 View of installation of arkhitektons at GINKhUK, June 1926. 4.7 Kazimir Malevich, [Suprematist Skyscraper], Published in Praesens, 1926. 4.8 Kazimir Malevich, Dynamic Construction, ca. 1923. 4.9 Kazimir Malevich, photograph of installation of arkhitektons at Artists of the RSFSR over the Past 15 Years, 1932. 4.10 Boris Iofan, Palace of the Soviets, 1932. 4.11 Kazimir Malevich, Suprematism in the Form of a Peasant, 1930. 4.12 Kazimir Malevich, Head of a Modern Girl, 1932 vii ACKNOWLEDGEMENTS Only with the help of many was this dissertation possible. I want to thank first of all Matthew Jesse Jackson, whose faith in and enthusiasm for this project never wavered. He gave me with the courage to take on the study of a canonical artist and the broad cultural themes with which I attempt to make sense of him. Matthew’s own work has also inspired me—this includes both his scholarship as well as his interventions that question the forms of academic discourse even as they, I think, maintain faith in the promise of the academy. Robert Bird has been my guide through the Russian nineteenth century and fin de siècle and a careful reader of my work. My conversations with him inform every aspect of the present text, from its most expansive concepts to the smallest details of its translations. Christine Mehring’s counsel from my earliest days in the department has been invaluable. Outside of my committee, I thank the entire faculty and staff of the Department of Art History for their attentiveness and support over the past eight years. My research in Amsterdam and Russia was funded by the University of Chicago Department of Art History and the Division of the Humanities. At the Stedelijk Museum in Amsterdam I was warmly received by Michiel Nijhoff, who did not hesitate to grant me access to the Khardzhiev-Chaga collection. In Moscow, Andrei Sarabianov encouraged me to pursue my initial suspicions about Russian modernism. I thank the librarians at the Russian State Library (especially those incredibly patient and helpful ones at the Collection of Newspapers in Khimki) and the State Public Historical Library for their aid in navigating their collections. Closer to home, June Farris at the University of Chicago Library helped me obtain microfilms and never hesitated to add books to the collection at my request. viii My time in Moscow was enlivened by the members of the rather pretentiously named Foreign Historians Conference, a weekly meeting for conversation and drinking. When I was most discouraged, this international group of scholars provided the intellectual inspiration and friendship to renew my sense of purpose. I have been fortunate to have fallen in with an extraordinary group of friends and colleagues at the University of Chicago. Their own work has inspired mine, and their support has been invaluable. Michelle Maydanchik and Julia Langbein were my first contacts in the department. They showed me that a graduate department could and should be a community. I am also grateful to Jake Fraser and Hannah Klemm, each of whom has often demonstrated great patience as an audience to my frustrations. I let these names stand for the many, many others who have given me guidance and friendship throughout these years. Nevertheless, I must single out Anastasia Artemyev Berg, for both her friendship, which brings me joy and offers me consolation, and her wisdom, which gives me great hope. This dissertation would not have been possible had my parents not taken me to museums as a child. And they have, to my amazement, never professed a word of doubt in my abilities, even at the lowest points of this long process. I thank them for this unyielding support and their love. ix ABSTRACT Kazimir Malevich and Russian Modernism Daniel Kalman Phillips Although Malevich’s abstract Suprematist
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