Synonyms for ivan_kliun or Related words with ivan_kliun

ivan_puni              olga_rozanova              nadezhda_udaltsova              liubov_popova              lyubov_popova              boguslavskaya              aleksandra_ekster              varvara_stepanova              mikhail_larionov              boris_grigoriev              nina_genke_meller              alexander_bogomazov              aristarkh_lentulov              pavel_kuznetsov              vladimir_tatlin              wladimir_burliuk              natalia_goncharova              pyotr_konchalovsky              vasily_polenov              nina_genke              vadim_meller              david_burliuk              машков              alexander_rodchenko              david_shterenberg              pavel_filonov              victor_borisov_musatov              vladimir_makovsky              konstantin_somov              mstislav_dobuzhinsky              alexandra_exter              kuzma_petrov_vodkin              abram_arkhipov              isaac_levitan              david_burlyuk              ilya_mashkov              aleksandr_gerasimov              arkady_rylov              chashnik              konstantin_korovin              leonid_pasternak              rozanova              gustav_klutsis              udaltsova              erik_bulatov              bogaevsky              el_lissitzky              vladimir_lebedev              ilya_kabakov              isaak_brodsky             



Examples of "ivan_kliun"
Supremus (; 1915–1916) was a group of Russian avant-garde artists led by the "father" of Suprematism, Kazimir Malevich. It included Aleksandra Ekster, Liubov Popova, Olga Rozanova, Ivan Kliun, Ivan Puni, Nadezhda Udaltsova, Nina Genke-Meller, Ksenia Boguslavskaya and others.
In the same year Rozanova together with other suprematist artists (Kazimir Malevich, Aleksandra Ekster, Nina Genke, Liubov Popova, Ksenia Boguslavskaya, Nadezhda Udaltsova, Ivan Kliun, Ivan Puni and others) worked at the Verbovka Village Folk Centre.
During the year 1915, Boguslavskaya joined the "Supremus" («Супремус»), a group of avant-garde artists. Some group members included (Liubov Popova, Nadezhda Udaltsova, Varvara Stepanova, Aleksandra Ekster, Ivan Kliun, Nina Genke-Meller, Ivan Puni and others. The group was led by the founder of Suprematism, Kazimir Malevich.
Varvara Bubnova, Mikhail Matyushin, David Burliuk, Wladimir Burliuk, Yuri Annenkov, Kazimir Malevich, Pavel Filonov, Vladimir Tatlin, Ivan Kliun, Ivan Puni, Nadezhda Lermontova, Aleksandra Ekster, Valentin Bystrenin, Marc Chagall (exponent of an exhibition), Nadezhda Udaltsova, Svyatoslav Voinov, Pyotr Miturich, Nikolay Tyrsa, Alexey Grischenko, Lev Bruni, Nathan Altman.
In 1916 she joined the "Supremus" group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others who at this time worked in Verbovka Village Folk Centre. The creation of a new kind of painting was part of the revolutionary urge of the Russian avant-garde to remake the world. The term 'supreme' refers to a 'non-objective' or abstract world beyond that of everyday reality.
Under the influence of Tatlin, Udaltsova experimented with Constructivism, but eventually embraced the more painterly approach of the Suprematist movement. In 1916, she participated with other Suprematist artists in a Jack of Diamonds exhibition, and during that same time period she joined Kazimir Malevich's" Supremus" group. In 1915–1916, together with other suprematist artists (Kazimir Malevich, Aleksandra Ekster, Liubov Popova, Nina Genke, Olga Rozanova, Ivan Kliun, Ivan Puni, Ksenia Boguslavskaya and others) worked at the Verbovka Village Folk Centre.
Nina Genke was closely connected with the "Supremus" group that was led by Kazimir Malevich, the founder of Suprematism. From 1915 Genke worked as a head and a chief artist of the Verbovka Village Folk Centre (province in Kiev). She attracted famous avant-garde artists such as Kazimir Malevich, Nadezhda Udaltsova, Aleksandra Ekster, Ivan Kliun, Ivan Puni, Lyubov Popova, Olga Rozanova, Ksenia Boguslavskaya and others to the creative peasant artisans co-operative.
He hunted for 'lost' pictures, some that were rolled up and covered with dust. He met Vladimir Tatlin and befriended Varvara Stepanova. He tracked down friends of Kasimir Malevich and bought works by Liubov Popova and Ivan Kliun. He particularly admired Anatoly Zverev, Russian expressionist whom he met in the 1950s. Costakis said about Zverev "it was a source of great happiness for me to come into contact with this wonderful artist, and I believe him to be one of the most talented artists in Soviet Russia."
The Supremus group, which in addition to Malevich included Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Ivan Kliun, Lyubov Popova, Lazar Khidekel, Nikolai Suetin, Ilya Chashnik, Nina Genke-Meller, Ivan Puni and Ksenia Boguslavskaya, met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. The products of these discussions were to be documented in a monthly publication called "Supremus", titled to reflect the art movement it championed, that would include painting, music, decorative art, and literature. Malevich conceived of the journal as the contextual foundation in which he could base his art, and originally planned to call the journal "Nul". In a letter to a colleague, he explained:
Artists who have worked extensively in geometric abstraction include Nadir Afonso, Josef Albers, Richard Anuszkiewicz, Mino Argento, Hans Arp, Rudolf Bauer, Willi Baumeister, Karl Benjamin, Max Bill, Ilya Bolotowsky, Patrick Henry Bruce, Kenneth Wayne Bushnell, Ilya Chashnik, Joseph Csaky, Nassos Daphnis, Ronald Davis, Robert Delaunay, Sonia Delaunay, Tony DeLap, , Burgoyne Diller, Theo van Doesburg, Thomas Downing, Lorser Feitelson, Günter Fruhtrunk, Albert Gleizes, Frederick Hammersley, Mary Henry, Bryce Hudson, Al Held, Auguste Herbin, Hans Hofmann, Budd Hopkins, Wassily Kandinsky, Ellsworth Kelly, Hilma af Klint, Ivan Kliun, František Kupka, Pat Lipsky, El Lissitzky, Michael Loew, Peter Lowe, Kazimir Malevich, Agnes Martin, Kenneth Martin, John McLaughlin, Laszlo Moholy-Nagy, Piet Mondrian, Barnett Newman, Kenneth Noland, Alejandro Otero, Rinaldo Paluzzi, I. Rice Pereira, Francis Picabia, Ad Reinhardt, Jack Reilly, Bridget Riley, Alexander Rodchenko, Morgan Russell, Sean Scully, Victor Servranckx, Leon Polk Smith, Henryk Stażewski, Jeffrey Steele, Frank Stella, Sophie Taeuber-Arp, Leo Valledor, Georges Vantongerloo, Victor Vasarely, Friedrich Vordemberge-Gildewart, Charmion von Wiegand, Zanis Waldheims, Gordon Walters, Neil Williams, Stanton Macdonald-Wright and Larry Zox among others.
Puni received his formal training in Paris in 1910-11 at the Académie Julien and other schools, where he painted in a derivative "fauviste" style. Upon his return to Russia in 1912, he met, and exhibited with, members of the St Petersburg avant-garde, including Kazimir Malevich and Vladimir Tatlin. He made a second trip to Paris in 1914, returning to St. Petersburg in 1915. At this point, he began painting in a Cubist style reminiscent of Juan Gris. In 1915, Puni, (Aleksandra Ekster, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nina Genke and others) formed Supremus, a group of artists dedicated to the promulgation of Suprematism, the abstract art movement founded by Malevich. Malevich and Puni co-authored the "Suprematist Manifesto", published in 1916, which proclaimed a new, abstract art for a new historical era. Puni also organized the exhibitions "Tramway 5" and "0.10," both held in St Petersburg in 1915, in which Malevich, Tatlin, Popova and others participated, and to which Puni contributed constructions and paintings. In 1915-1916 Puni, together with other Suprematist artists, worked at Verbovka Village Folk Centre. In 1919, he taught at the Vitebsk Art School under Marc Chagall.
Verbovka Village Folk Centre was an artisan cooperative in the village of Verbovka founded by Natalia Davidova in the Ukrainian province of Kiev. Natalia Davidova, one of the founders and the head of the Kiev Folk Center, was an Avant-garde artist descended from the ancient Ukrainian Hudim-Levkovichis family (Russian philosopher Nikolai Berdyaev was her cousin and artist Nina Genke-Meller was his sister-in-law). The beginning of the cooperation of Natalia Davidova and Nina Genke-Meller originated not just from their family relations. They both were keen on folk art and were devoted to the idea of implementation of Avant-garde artistic principles into practice of amateur goods. In 1915 Nina Genke became a head and chief artist of Natalia's Davidova Folk Center in Verbovka village. N.Davidova involved Nina Genke in "promoting " folk thing's production in accordance with the sketchers of famous Avant-garde artists. The members of the "Supremus" group started to cooperate very actively. Between 1915 and 1916 many Suprematist artists such as Kazimir Malevich, Aleksandra Ekster, Nina Genke-Meller, Nadezhda Udaltsova, Liubov Popova, Olga Rozanova, Ivan Puni, Ksenia Boguslavskaya, Ivan Kliun and others worked with peasant artisans at the cooperative. In November 1915 N.Davidova, together with A.Ekster and N.Genke, arranged an "Exhibition of Modern Decorative Art of the South of Russia" in Lamersie Moscow Gallery. There they represented the village ladies' works who studied decorative art in Verbovka and Skoptsi's schools, as well as carpets, pillows, shawls and belts made in accordance with sketches of Popova, Malevich, Davidova, Genke, Ekster, Puni, Kliun, Pribilskaya, Yakulov, Rozanova, Vasilieva, Boguslavskaya and others. The exhibition received broad publicity in the press. In 1917 Davidova and Genke arranged the "Second Exhibition of Modern Decorative Art" in Moscow in Mikhailava's Saloon.