In the body of Benoit Russian Museum exhibition opened Suetin Nicholas (1897-1954), a remarkable artist and one of the most famous disciples of Kazimir Malevich

In the body of Benoit Russian Museum exhibition opened Nicholas Suetin (1897-1954), a remarkable artist and one of the most famous students Kazimir Malevich .

Suprematist compositions, paintings and drawings with the intersecting lines and fulgurating each other triangles, squares and sickle, the objects-arhitektony, as well as cups, teapots, patterns for fabrics and wallpapers, architectural construction, all components of the project to reconstruct the world under the laws of art - in a vortex of the most promiscuous arts throwing the viewer enters the exhibition Nicholas Suetin.

For the sake of justice it is necessary to note that the throwing of the genre to genre, attempts to do everything at once, from painting to the festive decorations of streets and dizzying idea how to remake the world are waiting for you at the exhibition of any artist from the cohort of Russian avant-garde. The incredible power of the artistic impulse, strong in all those squares and circles, at first glance seems inexplicable, but it is actually quite understandable. When art is part of the revolution, and the brush in their hands - a tool that can blow up the world, it starts of any artist so that the echoes come and then drive up to us.

Suetin was the most loyal disciple of Kazimir Malevich and very similar to it. However, at Malevitch like all of his disciples: boisterous founder of Suprematism require them not only with the full consent, but mindedness. Of the apostles Nicholas Suetin was closest. Became after the Cadet Corps in the revolutionary Vitebsk, he's head plunged into the artistic life, as she rages in Vitebsk is not worse than in Petrograd and Moscow. It opened its folk-art school Marc Chagall, and Suetin, breaking from a military career, stood up under the banners of the military arts.

In 1919, he met with Kazimir Malevich, and he was baptized in Suprematism. Suetin learned to think in geometrical shapes and light, was created in association Malevich «Utverditeli new art» (UNOVIS), followed by a teacher he moved to Petrograd, founded in the same Malevich GINHUK - Institute of Artistic Culture, and in fact the nest vanguard, its creative laboratory and headquarters of the new art. From Malevich, he remained until his death a teacher in 1935, and when that did not, and has developed a scenario of his funeral, and the black-white-green-arhitekton Suprematist coffin, which stood in their heads instead of the famous icons of «black box», and tombstone at the tomb of Malevich in Nemchinovke - black cube that is the same square, only three-dimensional. However, in parallel with the creation of Suprematist compositions and arhitektonov he found a designer for the State Porcelain Factory, the former Emperor, and they created their most striking work, those who mention the Suetin, remembers the first.

Because the revolution, a flood, flooded everything. And radicals of art, which for the first time in history had the chance not to decorate their lives and wrestle, build and change their field of application of force is not seen as any less human life, including everyday life to the smallest detail. Plates, cups, teapots, too, had to be renewed and the revolution - to create something and Suetin. Completely otrinuv old form, he designed the kubistskie coffee urns, cups, bowls and half-suetony (they were brought to the exhibition from the collection LFZ). Here, the exhibition shows how complacent Suetin by the end of the 1920's. Of the fierce provozvestnika a new life and new art, it turned into more traditional artist. In place of irrelevant pictures of the squares and beams (the game of mind, pure ideas) came more and more figurative paintings. Along with Malevich, he was «farm» period: its farmers as well as Malevich, are in full growth and are not persons, but Suetin less intransigence of color, his color is not a sign of itself, a truly color dress or scarf, it, and mixed tones and semitone.

What is more, the less there remains of the avant-gardist, the more normal it becomes. His series «Guys» the beginning of the 1930's and has already departed from the symbolic color, and persons with men on the ground, it is quite expressive face, and in general it is almost sezannist. This is not conformism that come with age, this is not the artist was old - old world around him. For pictures Suetin can be diagnosed century: here meteoric rise of a revolutionary, so roll back to a quiet life and art as decoration, the living room. The exhibition of Russian art of the artist brought a full set of illustrations of Soviet history, and not fit into a bottomless «black box» of first half of the twentieth century.

Source: kommersant.ru