Revolution : Russian avant-garde, 1912- 1930
Author Museum of Modern Art (New York, N.Y.)
Date 1978
Publisher The Museum of Modern Art
ISBN 0870705458
Exhibition URL www.moma.org/calendar/exhibitions/1859
The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.
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Copyright© 1978 by TheMuseum of ModernArt All rightsreserved ISBN0-87070-545-8
TheMuseum of ModernArt 11West 53 Street,New York, N.Y 10019 Printedin the UnitedStates of America Foreword
Asa resultof the pioneeringinterest of its first Director,Alfred H. Barr,Jr., TheMuseum of ModernArt acquireda substantialand uniquecollection of paintings,sculpture, drawings,and printsthat illustratecrucial points in the Russianartistic evolution during the secondand third decadesof this century.These holdings have been considerably augmentedduring the pastfew years,most recently by TheLauder Foundation's gift of two watercolorsby VladimirTatlin, the only examplesof his work held in a public collectionin the West. Althoughthe surveyfeatures drawings and prints,selections from otherof the Museum'sdepartmental collections are also included.These other departmental collectionsare: Paintingand Sculpture;Architecture and Design;Photography; and Film. Theexhibition "Revolution: The Russian Avant-Garde 1912-1930" has been directedby MagdalenaDabrowski, Curatorial Assistant in the Departmentof Drawings. William S. Lieberman Director,Department of Drawings Tallin.Study for a Counter-Relief.1914 Giftof theLauder Foundation REVOLUTION:The RussianAvant-Garde 1912-1930
In Russiaduring the first third of the twentiethcentury, there emerged an avant-garde that produceda body of work now regardedas one of the mostsignificant developments in world art of the period.In the socialand culturalclimate fostered by the recent industrializationof Russia,new artisticmovements sprang up and fadedwithin an extraordinarilycompressed span of time. Thepictorial revolution they broughtabout was of internationalconsequence, even though it originatedin a countryisolated by World War I and then by the OctoberRevolution of 1917. Theworks in the presentexhibition provide an overviewof Russianavant-garde developmentsfrom 1912through 1930, the periodof the mostcrucial changes in artisticcredos. It was a periodof transitionfrom figurativeto abstractpainting, followed by an evolutionfrom planar,two-dimensional composition to three-dimensional construction,the distributionof volumesin space.The search for new meansof artistic expressioncompatible with modernreality precipitated a varietyof experimentswith color, line, texture,and materialsand generatedthe "isms" now emblematicof the period.These were: Neo-Primitivism, Rayonism, Cubo-Futurism, Suprematism, and Constructivism.Neo-Primitivism, the first of thesemodernist movements, eventually formedthe "native" basisfor developmentof otheravant-garde trends. Created by Larionovand Gontcharovaaround 1908, and also practicedby Malevichin the early stagesof his career,it soughtto revitalizeart by turningto the nationalheritage. Folk art, especiallywoodcuts (lubok) but also the Russianicon, signboardpainting, and children'sdrawings, became an importantinfluence in evolvingan idiom characterized by largecolor areas,often contoured with thick black linesand organizedinto planar compositionsthat rejectedthe principlesof Renaissanceone-point perspective. This idiom evolvedas the expressionof the artists'dual attitudetoward contemporary aestheticcriteria - a contemptfor Westerntraditions, along with a near-reverencefor the art of Cezanne,van Gogh,and Gauguinand his school. By 1912 Neo-Primitivismin effecthad run its course,but its lastvestiges can be seenhere in Gontcharova's1915 drawingsfor the decorof fhe never-realized experimentalproduction Liturgy, intended for SergeiDiaghilev's Ballets Russes, and her 1914 lithographsof the MysticalImages of War. Neo-Primitivismwas a catalyzingfactor for Russianart, muchas was the Japanese printfor FrenchSymbolism or primitivesculpture for Cubism.It broughtto the forethe meaningof a work of art seennot as an illusionof reality,but as an independententity. It rejectedverisimilitude and openedup the way for investigationsinto the intrinsic elementsof painting- color,form, and fexture- and thenceinto the nonobjectiveworld. Theseinvestigations led to an upturnin art criticism(in quantityas well as quality) and to a proliferationof new radicalartistic groupings. Theearliest stages on the way to nonobjectivecreation are representedhere by a Rayonisfwatercolor of Larionov,Composition #8 (1912), and severalCubo-Futurist works:Malevich's print SimultaneousDeath of a Manin an Airplaneand a Train (1913) and his oil paintingPrivate of the FirstDivision (1914), and Bogomazov's drawingWoman Reading (1915). Rayonismand Cubo-Fufurism,movements that coexistedduring 1912-14, incorporatedthe influencesof FrenchCubism and Italian Futurism.These were known firsthand in Russiathrough exhibitions and throughworks includedin the two famouscollections of modernart in Moscow,those of Morosovand 6 Shchukin Cubismand Futurismwere also presentedin art magazinesthat coveredthe latestdevelopments in Westernart. TheCubo-Futurists combined Cubist fragmentation of form with the Futuristinterest in the movement,light, and energyof modernurban civilization.Rayonism in additionprofited from the discoveriesof Delaunay'sOrphism- it concerneditself not with the representationof objects,but with capturing,in a surface patternof intersectingcolor lines,the spatialrelations of the light raysreflected from objects.Cubo-Futurism also exploredthe Cubist-originatedtechniques of collageand anticipateda Dadoelement - applyingready-made objects, such as the thermometerin MalevichsPrivate of the FirstDivision, to the surfaceof a work. Thesearch for newvalues and new solutionsin the visual arts was paralleledby a questin literatureleading to a linguisticrevolution. Just as the artistsstressed the importanceof the work of art as a self-referentialentity, regardless of its narrative content,so the Futuristpoets Velimir Khlebnikov, Aleksander Kruchenykh, Vladimir Mayakovski,and othersextolled the importanceof the word not for its meaning,but or its sound.Kruchenykh's creation of "zaum"-a transmentallanguage based on the word emptiedof its sense- was theirformal equivalentof the Cubo-Futurist fragmentationof form and incorporationof the elementof speed.This affinity between the two disciplinestook on tangibleform, especiallyduring 1912-14, in illustrated booksproduced in collaboration.A numberof thesebooks are includedin the present exhibition. Russianenthusiasm for Futuristideas ran high, and the Italianprophet of Futurism, HlippoTommaso Marinetti, was invitedto visit Moscowand St. Petersburg.A document of that trip, which took placein January 1914,is shownhere: a portraitof Marinetti doneby NikolaiKulbin, a military doctorfrom St. Petersburgwho had embracedthe causeof modernismand had himselfbecome a painterand art theoretician. A furtherstep in the questfor purepainting" was markedby Malevich's Suprematism,which madeits first public appearancein December1915 at the "Last FuturistExhibition of Pictures,0.10," organizedby the artistIvan Puniin Petersburgas one in a seriesof Futuristshows, all carryingeccentric titles. Themain goal of Suprematismwas to achievethe spiritualquality in painting throughthe manipulationof basicgeometric forms of pureprimary colors set in unstructured,neutral space. The fundamental formal elementsof Suprematismwere the square,the rectangle,the triangle,and the circle,as exemplifiedin the Malevich drawingsincluded in the presentexhibition. Simultaneously, the searchfor the spiritual m art was pursuedby WassilyKandinsky, who at the outbreakof WorldWar I returned er,T.any-y' /°!T ? t0 hlSnative country Formal| however,his stylewas in directopposition o that ot Maievich;if madeuse of soft, amorphousforms loosely organized into an overallcomposition, as demonstrateshis Untitledof 1915-a yearduring which he concentratedon watercolorsand drawingsand did not executea singleoil painting.The compositionof his laterworks, those done after his departurefrom the SovietUnion in 1921(e.g., BlackRelationship, 1924, in the exhibition),reveals that contemporary geometrism,probably that of Malevichabove all, did exertan influenceon Kandinsky's development.The "hard edge"forms and their morerigid organizationsuggest a debtto Suprematism. Theyear 1915 markedan importantpoint in the developmentsin art precedingthe RussianRevolution. The "0.10" exhibition,besides presenting Malevich's Suprematism, madeapparent the emergenceof a second,opposite tendency within the avant-garde: the explorationof volume.Here for the firsttime VladimirTatlin showed his three- dimensionalconstructions-assemblages of various"modern" industrialmaterials, iron, glass,tar, and wood. He had begunworking in this vein in 1914,stimulated by the Cubistconstructions he had seenin Picasso'sstudio during a trip to Parisin the fall of 1913,and possiblyby the sculptureof Archipenko.These works, originally described by him as "painterlyreliefs," along with later"corner-reliefs" and "counter-reliefs,"were three-dimensionalcreations, built up from the picturesurface forward into the spaceof the spectator— in contrastto a traditionalrelief, where forms are generallycut out in the background.Their formal structure,he maintained,resulted trom the inherentqualities of the materialsused. According to Tatlin'sphilosophy of the "cultureof materials,"every materialgenerates its own form, impliedby its naturalqualities. In his studiesfor the reliefs,a senseof the differentmaterials is conveyedthrough variegated textures and colors,as in a studyfor the three-dimensionalconstruction Board # 1 (TretiakovGallery, Moscow).This and the Studyfor a Counter-Reliefof 1914are amongTatlin's rare works still extant.Almost all the counter-reliefsnow seemto havebeen lost, but they,along with reliefsby NaumGabo and Pevsner,such as the Headand Bust includedin this exhibition,were to be influentiala few yearslater in the developmentof Constructivism. Theywere examples of ideologically"leftist" art, which the artistshoped would flourish with the victory of the OctoberRevolution. TheRevolution of 1917 underminedvarious existing art groupingsand gave impetusto the leftistcurrents. Artists convinced of the affinitiesof their ideaswith thoseof the Revolutionaligned themselves with the new regime.For a periodof abouta decade they weregiven an importantpart to play in the shapingof culturalpolicy, thanks to the enlightenedleadership of AnatoliLunacharsky, the People'sCommissar of Education from 1918to 1929. Hissympathies toward radicals in art and literaturecreated a link betweenthem and Leninand resultedin the appointmentof artistslike Malevich, Rodchenko,and Tatlin,as well as a numberof artistsreturning from abroad(Chagall, Gabo,Kandinsky, Lissitzky, and Pevsner),to importantpositions within the new cultural hierarchy.The new politicaland socialsystem confronted the artistswith a new rolefor art. Easelpainting and the conceptof "pure painting" cameto be considered emblematicof the idealsof a bourgeoissociety and moreand moreirrelevant to the Sovietreality. Art was to be put in the serviceof propaganda."Streets are our museums, walls our canvases.""Art into life" and "art for the masses"became the main slogans. Thenew style embodying these postulates later became known as Constructivism. Thebeginnings of this essentiallyanti-aesthetic concept were marked by three importantevents: publication of the RealistManifesto by Gaboand Pevsnerin August 1920 in Moscow;a lecture"On Constructivism"by one of its main proponents,Varvara Stepanova,in December1921 at the MoscowInstitute of ArtisticCulture (Inkhuk); and an exhibitionin the springof 1921of the Societyof YoungArtists (Obmokhu) group Therethe youngartists, among them the brothersVladimir and GeorgiiSfenberg and KonstantinMedunetski, along with Rodchenko,exhibited their openthree-dimensional constructions,assemblages of variousmaterials such as metaland glass,exploring the contrastsbetween their differenttextures, luminosity, and transparency. Concurrentlyat the Inkhuk,some of the artists,believing that abstractart could becomethe orderof the day, had continuedtheir experimentswith color, line, and texture,as shownin Rodchenko'swatercolors of 1918-20. Theresults of fhaf search- which is knownas the "laboratoryperiod" of Constructivism- wereshown at the Tenth 8 Stateexhibition, entitled NonobjectiveCreation and Suprematism,"held in Moscowin January1919,- there Malevich's ultimately reductivist Suprematist Painting: White on White (1918) was counteredby Rodchenko'sNonobjective Painting: Black on Black (1918) - worksthat are showntogether again in the presentexhibition. In 1921the Russianswere announcing "the deathof fine art" with the exhibition"5x5 = 25," which openedin Moscowin September,presenting five worksby eachof the five contributingartists: Exter, Popova, Rodchenko, Stepanova, and Vesnin.Rodchenko, whoseexhibits included three monochromatic canvases in purecolors, blue, yellow, and red, announcedthat paintinghad run its course.These major proponentsof Constructivismconsidered the worksexhibited as transitionalin the evolutionto three- dimensionalconstruction, which would embodytheir interestsin modernmaterials, dynamics,and eventuallyutility. The reorganized art institutionsplayed an important part in propagatingthe idea of artisf-engineer.Artists like Popova,Rodchenko, Stepanova- advocatingindustrial art and Constructivismas the soleform of expression- turnedto domainsof life wherethe synthesisof arf and technologyseemed moretangible. A new Productivistphase in art began.Those artists, like Kandinsky, Gabo,and Pevsner,whose creative ideals were in oppositionto the nationalist philosophyof artist-engineerleft Russiato continuetheir pursuitsin the West. Popovaand Stepanovareoriented themselves toward practical industrial concerns, such as textiledesigns for the FirstTextile Factory in Moscow.Rodchenko found ways of releasinghis creativeenergies in the designof propagandaposters, typography, photography,and photomontage.Malevich and his pupilsturned to china designs,the Steribergsto cinemaposters. Their work laid the foundationsof modernindustrial and graphicdesign. Their graphic design was to havean importantimpact on the developmentof Europeantypography and layoutthroughout the 1920s.The diagonal thrustof their compositions,brilliant patterns, assertive frontal image, and bold lettering becameidentifying marks of the era. Themost daring attempt at the fusionof artistic form with utilitarianintentions was Tatlin'sfamous design for the Monumentfor the Third International(1919-20), the symbolof fhe proletarianstate. In the proposedstructure a superimposedcube, pyramid, and cylinder,all threeof glass,were to revolveat differentspeeds, creating a spiral path of movement- and housing,respectively, the legislativeassemblies, the executiveoffices, and an informationcenter. Later Taflin tried to apply his Constructivistprinciples to needsof everydaylife, like thermalclothing, furniture,or, in the final stage,a flying machine- Letatlin(1930-31). Theaterand film offeredofher channels where the Constructivistvision of an artist orderingthe world could be turnedinto a pseudo-reality.Aleksandra Exter's costume designfor the Guardianof Energy,created for the science-fictionfilm Aelita(1924), exemplifiesefforts in this area. Theprinciple of artist-engineerwas givenan interestingexpression in the worksby El Lissitzkycalled Projectsfor the Affirmationof the New(in Art) —Prouns - of the years 1919-27. Describedby him as an "interchangestation between painting and architecture,"these works combined flat color planes,floating in space,with the architecturalrepresentation of formsand volumes,resulting in three-dimensional illusionismthrough isometric drawing and color contrasts.They seemed to synthesize basicconcepts of Malevich'sSuprematism with Tatlin'sConstructivism. These "Proun" conceptslater found their materialexpression in Lissitzky's"demonstration spaces" designedfor Hanover,Berlin, and Dusseldorfas exhibitioninstallations in 1928. These and the Constructivistarchitecture of Melnikov,Leonidov, and brothersVesnin were the ultimatetranslations of Constructivistprinciples, propounded by such Constructivist organsas Let,founded by VladimirMayakovski in March1923 and publisheduntil 1925, and later,in 1927-29, NovyiLet, which presentedcontributions by all major apologistsof the movement,including Boris Arvatov, Ossip Brik, and BorisKushner. After1925 increasingattention was paid to the "realist" trendin art. Asthe twentiesdrew to a closeConstructivism fell out of favor with the Sovietauthorities as "ideologicallyalienated." In 1929 Lunacharskywas replacedas Commissarof Education,and the periodof Sovietliberalism in art was ended.The First Ail-Union Congressof SovietWriters, held in 1934, proclaimedSocialist Realism as the official styleof the proletarianstate. By then, however,Constructivist ideas had gainedinternational influence through such channelsas the Russianexhibition at the van DiemanGallery in Berlinin 1922, the 1922 Congressof InternationalProgressive Artists in Dusseldorf,and various exhibitionprojects and graphicworks by El Lissitzky,often done in collaborationwith WesternEuropean artists. Constructivist concepts found expressionparticularly in the philosophyof the Bauhaus,where several Constructivists contributed their teaching knowledge.The sculpture of the middleyears of our centurywas profoundlyinfluenced by the movement.Since then, the implicationswithin the formal and conceptualideals of Constructivismhave been intensively appreciated by the Minimalartists. The influence continuesto revealitself not only in the work of artistslike Sol LeWitt,Mel Bochner, DorotheaRockburne, Robert Ryman, and FredSandback, but also in such worksas FrankStella's recent three-dimensional paintings, expressive of the tendencyaway from the flatnessof the pictureplane and towardexploration of differenttextures and different materials. MagdalenaDabrowski l o Checklistof the Exhibition All works in this exhibition are from the collection of The Museum of Modern Art. In the listings below, dates enclosed in parenthesesdo not appear on the works themselves. Dimensions are for the size of the sheet and are stated in inches and centimeters, height preceding width. Unless otherwise noted all works are on paper.
ARCHIPENKO,Alexander. 1887-1964 ERMOLAEVA,Vera. 1893-1938 1. Figurein Movement.1913 7. Designfor the Futuristopera Victory over Cutand pastedpapers, crayon and pencil the Sun.(1920) 18-3/4x12-3/8" (47.6x31.4 cm) Woodcutcolored by hand Giftof the PerlsGalleries, New York 6-9/16x7-7/8" (16.7x20 cm) 2. Composition.1913 LarryAldrich Fund Collage,pen and ink 18-3/4x12-1/4" (47.7x31.1 cm) EXTER,Aleksandra. 1882-1949 Extendedloan from FrancesArchipenko 8. Costumedesign for The Guardianof Energy for the film Aelifa. (1924) BOGOMAZOV,Aleksander. 1880-1930 Penand ink, gouacheand pencil 21-1/4x14-1/4" (51.1 x 36 cm) 3. Manand WomanCarrying Large Baskets. TheJ.M. KaplanFund, Inc. (1912) Watercolorand pencil 9. LightingDesign for a Ballet. (1927) 14-1/8x10-1/2" (35.9 x 26.6 cm) Pochoir Giftof NikitaD. Lobanov 13x20-1/8" (32.9x51.1 cm) Giftof Mr.and Mrs.Nikita D. Lobanov 4. ThreeWoodcutters. (1912) Watercolorand pencil 10. Stagedesign for an Operetta.(1927) Pochoir 11-1/8x 13-5/8 (28.2x34.7 cm) Giftof NikitaD. Lobanov 13x19-3/4" (33x 50.2 cm) Giftof Mr.and Mrs.Nikita D. Lobanov 5. WomanReading. (1915) Charcoal 11.Stage design for the balletThe Circus. 16 x 12-5/8" (40.6x32.1 cm) (1927-28) Pochoir TheJoan and LesterAvnet Collection 12-7/8 x 19-3/4' (32.7 x 50.2 cm) Giftof Mr.and Mrs.Nikita D. Lobanov CHAGALL,Marc. Born 1887 12. Stagedesign for La RevueBateaux 6. Homageto Gogol.1917 (1929-30) Watercolor Pochoir 15-1/2 x 19-3/4" (39.3 x 50.2 cm) 13 x 20" (33 x 50.8 cm) Acquiredthrough the Lillie P. BlissBequest Giftof Mr.and Mrs.Nikita D. Lobanov GABO,Naum. 1890-1977 13-1/4x9" (33.6x22.9 cm) Giftof AbbyAldrich Rockefeller 13. Headof a Woman,(c. 1917-20.) (Aftera work of 1916) 23. Abstraction.1923 Constructionin celluloidand metal Colorlithograph 24-1/2 x 19-1/4" (62.2x48.9 cm) 18-7/8 x 17-3/8" (48x44.2 cm) Purchase Purchase 24. BlackRelationship. 1924 GONTCHAROVA,Natalia. 1881-1962 Watercolor 14. The Forest.1913 14-1/2 x 14-1/4'' (36.8x36.2 cm) Watercolor Acquiredthrough the Lillie P. BlissBequest 16 x 11-3/4" (40.6 x 29.9 cm) Extendedloan KLIUN,Ivan. 1878-1942 Threelithographs from the series 25. Samovar,Pitcher, Decanter, and Glasses. 1925 War (Voyna): MysticalImages of the War Penciland crayon 15. The Christ-LovingHost. (1914) 8x10-1/4" (20.2x26.1 cm) 13x9-3/4" (33x25 cm) TheJoan and LesterAvnet Collection Mrs.Stanley Resor Fund 26. Cup, Pitcher,and Bottles.1927 Pencil 16. Angelsand Airplanes.(1914) 13x9-3/4" (33x25 cm) 12-1/4x7-3/8" (31 x 18.5 cm) Mrs.Stanley Resor Fund TheJoan and LesterAvnet Collection 17. The DoomedCity. (1914) KLUTSIS,Gustav. 1895-1944 13 x 9-3/4" (33 x 25 cm) Mrs.Stanley Resor Fund 27. Untitled,(c. 1922) Linocut 18. The Nativityfor the productionLiturgy. 8-7/8x6-3/8" (22.5x16.2 cm) (1915) Mr.and Mrs.Bernard J. ReisFund Watercolor,gouache, and pencil 12 x 8-1/8" (30.5 x 20.6 cm) KULBIN,Nikolai. 1868-1917 Giftof Mr.and Mrs.Sidney Elliott Cohn 28. FilippoTommaso Marinetti. 1914 19. The Flightinto Egyptfor the production Monotype Liturgy.(1915) 18-3/8 x 13-1/8" (46.7 x 33.3 cm) Watercolor,gouache, and pencil Mrs.John D. Rockefeller3rd Fund 12 x 8-1/8" (30.5 x 20.6 cm) Giftof Mr.and Mrs.Sidney Elliott Cohn LARIONOV,Mikhail. 1881-1964 29. RayonistComposition No. 8. (1912) KANDINSKY,Wassily. 1866-1944 Brushand ink, gouacheand watercolor 20 x 14-3/4" (50.8x37.5 cm) 20. Studyfor Paintingwith White Form. Giftof the artist (1913) Watercolorand ink LISSITZKY,El (Lazar) 1890-1941 10-7/8 x 15" (27.6x38.1 cm) TheKatherine S. DreierBequest 30. Fiveplates from the FirstKestner Portfolio, editedby EckartSydov, published by 21. Studyfor Paintingwith White Form.(1913) LudwigEy, Hanover, 1923 Brushand ink 10-1/2 x 14-3/4" (26.6 x 37.4 cm) Proun(Construction). (1919-23) Promisedgift of Carol0. Selle 1,4: lithographand collage;2, 3, 5: lithograph 22. Untitled.1915 23-13/16 x 17-3/8" (60.4 x 44.2 cm) each Watercolor Purchase 31. Elevenlithographs from Figurines,Plastic 47. SimultaneousDeath of a Man in an Representationof the Electromechanical Airplaneand a Train.(1913) Production"Victory over the Sun," an Lithograph operawritten by AleksanderKruchenykh, 4-7/16 x 6-15/16" (11.2 x 17.7 cm) composedby MikhailMatiushin. Moscow Giftof CelesteG. Bartos 1920-21. Printedby RobertLeunis & Chapman,Hanover, 1923. Coverof 48. Privateof the FirstDivision. (1914) portfolio Oil on canvaswith collageof postagestamp, 21 x 17-13/16" (53.3 x 45.4 cm) each thermometer Purchase 21-1/8 x 17-5/8" (53.7 x 44.8 cm) 32. Partof the MechanicalSetting as Title 49. SuprematistComposition: Airplane Flying. 12 Page (1915) Oil on canvas 33. TheAnnouncer 22-7/8x19" (58.1 x 48.3 cm) 34. The Sentinel Purchase 35. ThoseWho Fear 50. SuprematistElements: Squares. (1915) Pencil 36. The Globetrotter 19-3/4 x 14-1/4" (50.2x35.8 cm) 37. TheSportsmen Givenanonymously 38. The Quarrelmonger 51. SuprematistElement: Circle. (1915) Pencil 39. An Old Man, His HeadTwo PacesBehind 18-1/2x14-3/8" (47x36.5 cm) 40. The Gravediggers Givenanonymously 41. The New Man 52. SuprematistComposition: Red Square and BlackSquare. (1915) 42. Studyfor pagefor children'sbook: A Oil on canvas SuprematistStory about Two Squaresin 28 x 17-1/2" (71.1 x 44.5 cm) Six Constructions.(1920); published Berlin1922 53. DynamicPlanes. (1915-16) Watercolorand pencil Pencil,brush and ink, gouache 10-1/8x8" (25.6x20.2 cm) 8-3/4x7" (22 x 17.6 cm) TheSidney and HarrietJanis Collection Giftof Mr.and Mrs.Armand P. Bartos 43. Proun19D. (1922) 54. SuprematistComposition: White on Gesso,oil, collageon plywood White. (1918) 38-3/8 x 38-1/4" (97.5 x 97.2 cm) Oil on canvas TheKatherine S. DreierBequest 31-1/4x31-1/4" (79.4 x 79.4 cm) 44. ProunComposition (c. 1922) 55. SuprematistArchitectural Drawing. (1924) Gouacheand ink Pencil 19-3/4 x 15-3/4" (50.2 x 40 cm) 12-1/4x17-3/8" (31.1 x 43.9 cm) Giftof CurtValentin Purchase 45. ProunGK. (c. 1922) 56. AnalyticalChart: Cubism-Futurism- Gouache,brush and ink, pencil Suprematism.(c. 1925) 26x19-3/4" (66x 50.2 cm) Collagewith pencil,pen and ink Extendedloan 25x32-1/2" (63.5x82.6 cm)
MALEVICH,Kasimir. 1878-1935 PEVSNER,Antoine. 1886-1962 46. PeasantWoman with Water Pails: 57. Bust. (1923-24) DynamicArrangement. 1912 Constructionin metaland celluloid Oil on canvas 20-7/8 x 23-3/8" (53 x 59.4 cm) 31-5/8 x 31-5/8" (80.3 x 80.3 cm) Purchase B9
58. Torso.(1924-26) 11-3/4 x 7-3/4 (30x19.5 cm) Constructionin plasticand copper Giftin honorof MyronOrlofsky 29-1/2x11-5/8" (74.9x29.4 cm) TheKatherine S. DreierBequest TATLIN,Vladimir. 1885-1953
POPOVA,Lyubov. 1889-1924 68. Studyfor a Counter-Relief.(1914) Gouacheand charcoal 59. Untitled.(1917) 19-7/16 x 13-7/16 (49.4 x 34.2 cm) Cutand pastedpapers Giftof the LauderFoundation 9-3/8x6-1/8" (23.9x15.6 cm) Gift of Mr.and Mrs.Richard Deutsch 69. Studyfor Board#1. (1917) Watercolor,traces of pencil, mefallicpaint, 60. ArchitectonicPainting. (1917) gouache Oil on canvas 17-1/4 x 11-5/8" (43.9x29.6 cm) 31-1/2x38-5/8" (80x98 cm) Giftof the LauderFoundation PhilipJohnson Fund TCHELITCHEW,Pavel. 1898-1957 PUNI,Ivan. 1892-1956 70. Lipki, Kiev. (c. 1918-19) 61. Flightof Forms.(1919) Charcoal Gouacheon paperover canvas 24-3/4 x 8-5/8" (62.8 x 21.7 cm) 51-1/8 x 51-1/2" (129.7 x 130.8 cm) Giftof MmeAlexandra Zaousaileff AbbyAldrich Rockefeller Fund 71. TheArtist's Mother,(c. 1918-19) 62. Exhibitionannouncement for the 100th Charcoal exhibitionof the gallery DerSturm. (1921) 20-5/8 x 14 1/8" (52.2x36.1 cm) Penand ink, cut and pastedpapers Giftof MmeAlexandra Zaousaileff 4-1/8x3-1/2" (10.5x8.9 cm) TheKatherine S. DreierBequest 72. GreenMan (sketchfor decorfor Cabaret Theater),(c. 1920-23) RODCHENKO,Aleksander. 1891-1956 Gouache,brush and ink 9-1/2x11-1/2" (24.1 x 29 cm) 63. NonobjectivePainting: Black on Black. Giftof MmeAlexandra Zaousaileff (1918) Oil on canvas 73. Sketchfor decorfor CabaretTheater. 32-1/4x31-1/4" (81.9x79.4 cm) (c. 1920-23) Giftof the artistthrough Jay Leyda Cutand pastedpaper, gouache, tempera 13-1/2 x 12-1/2" (34.1 x 31.7 cm) 64. Compositionwith Circleand Planes.1918 Giftof MmeAlexandra Zaousaileff Gouache 74. Sketchfor decorfor CabaretTheater. (1921) 13x6-3/8" (33x16.2 cm) Cutand pastedpaper, gouache, metallic paint, Giftof the artist and pencil 65. Composition.1919 18-1/2 x 23-3/8" (46.8 x 58.2 cm) Gouache Giftof MmeAlexandra Zaousaileff 12-1/4x9" (31.2x22.8 cm) 75. Sketchfor The EurasianManifesto: Giftof the artist Reflectionsof Eurasianson the Roads. 66. Line Composition.1920 (1922) Penand ink Brushand ink, pencil 12-3/4x7-3/4" (32.4 x 19.7 cm) 9-7/8 x 7" (24.9 x 17.6 cm) Givenanonymously Giftof MmeAlexandra Zaousaileff
STENBERG,Vladimir. Born 1899 PHOTOGRAPHS 67. Cityscape.1917 RODCHENKO,Aleksander. 1891-1956 Pencil 76. VladimirMayakovski. (1924) 22-3/8x16" (56.8 x 40.6 cm) RODCHENKO,Aleksander. 1891-1956 TheParkinson Fund 87. Inga (Theaterof the Revolution).(1929) 77. Assemblingfor a Demonstration.(1928) Letterpress 19-1/2x13-7/8" (49.5x35.4 cm) 29-3/4x41-3/4" (75.6 x 106.2 cm) Mr.and Mrs.John SpencerFund Giftof Jay Leyda 78. At the Telephone.(1928) 15x11" (38.1 x 27.9 cm) STENBERG,Vladimir and Georgii. Mr.and Mrs.John SpencerFund Born 1899; 1900-1933 79. Untitled(Bridge). (1928) 88. Imprisoned.(1928) 8-1/2x5-1/2" (20.6x14 cm) Offset Giftof AlfredH. Barr,Jr. 27-1/4 x 49-1/2" (69.2 x 125.7 cm) Anonymousgift 80. Untitled(Railroad Station). (1928) 9x6-1/2" (22.8x16.5 cm) ILLUSTRATEDBOOKS Giftof AlfredH. Barr,Jr. GONTCHAROVA,Natalia. 1881-1962 81. Untitled(Street). (1928) 8-7/8x6-1/2" (22.5 x 16.5 cm) 89. Gardenersover the Vines(Vertogradari Giftof AlfredH. Barr,Jr. Nad Lozami).Text by SergeiBobrov Moscow,1913 82. Potemkin.(c. 1925) A. CongerGoodyear Fund Photomontage 6-1/2x9" (16.5x22.8 cm) 90. Hermits(Pustynniki). Text by Aleksei Museumof ModernArt Film StillsArchive Kruchenykh Moscow.1913 POSTERS AbbyAldrich Rockefeller Fund
GUMINER,Yakov KLUTSIS,Gustav. 1895-1944 91. FourPhonetic Novels (Chetyre 83. 1917.(1927) PhoneticheskikhRomana). Photo-lithograph Textby AlekseiKruchenykh 42x25-5/8" (106.7x67.3 cm) Moscow.1927 Giftof AlfredH. Barr,Jr. AbbyAldrich Rockefeller Fund 84. May 1st. (1927) Photooffset MALEVICH,Kasimir. 1878-1935 43x24" (109.2x60.9 cm) 92. TheThree (Troe). Text by ElenaGuro, Anonymousgift VictorKhlebnikov, and AlekseiKruchenykh St. Petersburg.1913 KLUTSIS,Gustav. 1895-1944 AbbyAldrich Rockefeller Fund 85. Transport.1929 93. Victoryover the Sun(Pobeda Nad Offset Solntsem).Text by AlekseiKruchenykh, 28-3/4x19-3/4" (73x50.2 cm) MikhailMatiushin, and KasimirMalevich Anonymousgift St. Petersburg.1913 AbbyAldrich Rockefeller Fund PRUSAKOV,Nikolai, and BORISOV,Grigorii. 1900-1954; born 1899 ROZANOVA,Olga (with KasimirMalevich). 86. I Hurryto SeeKhaz Push. (1927-28) 1886-1918 Offset 94. TheWord as Such(Slovo KakTakovoe). 43-1/2 x 30-1/8 (110.5 x 76.5 cm) Textby VictorKhlebnikov and Aleksei Giftof Jay Leyda Kruchenykh St. Petersburg.1913 TATLIN,Vladimir (with NataliaGontcharova and Anonymousgift MikhailLarionov). 1885-1953
ROZANOVA,Olga (with NataliaGontcharova, 96. WorldBackwards (Mirskontsa). Text by NikolaiKulbin, and KasimirMalevich) AlekseiKruchenykh and Victor Khlebnikov St. Petersburg.1912 95. Explosion(Vzorval). Text by Aleksei Purchase Kruchenykh St. Petersburg.1913 Purchase
A SELECTIONOF GRAPHIC DESIGNS FOR BOOKS AND MAGAZINES EXECUTED DURING THE 1920s.ALSO SUPREMATIST CERAMICS TheMuseum of ModernArt 11 West53 Street,New York, N.Y 10019 ISBN0-87070-545-8