back

1873 - 1943

Ivan Vasilievich Kliun

description

Ivan Vasilievich Kliun (born Klyonkov) was a russian avant-garde artist, art theorist, a brilliant representative of several recent art movements, including Suprematism – a special branch of Russian Abstractionism of the first half of the 20th century.

A companion and friend, as well as a follower of K. Malewicz, who remained in his shadow and even was unjustly considered the “avant-garde of the second row”, was one of the most original masters in both Cubo-Futurism and Suprematism. His best works, no doubt related to the geometric abstractions of the author of the Black Square, are freer in painting, rich in the play of light and shadow, whimsical in terms of irrationalism of forms, sometimes brought by the author to a super-impressive minimum.

These qualities attracted connoisseur and collector George Kostaki, thanks to whom the master’s works were preserved and became known later. Traveling to Greece, Kostaki was forced to donate a part of his personal collection to his country; thus, the work of Kliun ended up at the Tretyakov Gallery and other main collections of the USSR.

Ivan Kliun was an active participant in the cultural life of the “futuristic” capitals of Russia, an exhibitor of all significant avant-garde exhibitions, a founding member of the Moscow Salon and Supremus associations, an author of several theoretical treatises, a member of the later group Four Arts.

Key ideas:

– In the years of Klyonkov’s studies, his artistic preferences were traditional. Ivan was very attracted by the art of the Wanderers; he created realistic landscapes, and also worked under the influence of M. Vrubel and V. Borisov-Musatov in the styles of symbolism, partially in the style of art nouveau.

– His close friendship with Malevich led the artist first to Postimpressionism and Cubism, and then to other avant-garde styles: he co-authored the Suprematism Manifesto and followed its principles for several years, although focusing on the search for color solutions. The manifesto of Suprematism, published in the catalog for the opening of the exhibition “0.10” in 1915, proclaimed pure art, which is free from alluvial feelings and has no content, but a flawless form.

– Further work with color, which increasingly attracted the attention of the artist, led to changes in his painting manner – Kliun portrayed geometric simple forms blurred, without outline contours, giving the impression of vibration.

– The new wave of fascination with French art (the second half of 1920s) motivated Ivan to copy different paintings of Picasso, Braque and Gris; though, he was mostly impressed by Purism of Amedee Ozenfant (purus – “pure”) with his quest for aesthetic clarity and accuracy declared in manifesto “After Cubism”. Kliun called this his newest style “constructive realism”.

– The search for solving problems of color caused a departure from Suprematism and a break with the theories and practices of Malewicz, who sharply criticized his friend. Kliun wrote to Kazimierz, “Even if the painting died, pressed by” Black Square”, the paints did not die.” He believed that the new art should be an art of color and that it was time to “get out of the desert of objectlessness”.

+ Read more

1973

1893

1903

1908

1910

1913

1915

1916

1919

1926

1934

1943

The birth of the artist

The artist was born into the family of an old believer, carpenter Klyunkov, who moved to Ukraine in 1881. Ivan studied at a real school in Kiev, being independently engaged in his favorite drawing.

Entered the Warsaw Drawing School at the Society for the Encouragement of Arts

Went to his uncle to Poland, graduated from the gymnasium there, went through military service and entered the Warsaw Drawing School at the Society for the Encouragement of Arts.

Studied at Moscow studio workshops of I. Mashkov and F. Rerberg

Studied at Moscow studio workshops of I. Mashkov and F. Rerberg. During his studies, the artistic tastes were traditional: he was fascinated by the works of the Wanderers, creating realistic landscapes, and also was interested in Art Nouveau and Symbolism of Vrubel and Borisov-Musatov.

Began to exhibit his works at exhibitions of the Moscow Association of Artists

Began to exhibit his works at exhibitions of the Moscow Association of Artists. Klyunkov was greatly impressed by the exhibition of contemporary French painting, which took place in the halls of the editorial office of the Golden Fleece magazine. Malewicz found a like-minded person in Klyunkov – they became acquainted with the Shchukin’s collection of paintings and felt the latest ideas more and more.

The Moscow Salon

He was one of the founding members of the Moscow Salon art society, which included graduates of the Moscow School of Painting, Art and Painting – painters and architects of different styles. Fearing that artistic activity would give him problems at his work in the accounting service, he signed his works as “Kliun”. He was greatly impressed by his first exhibition “The Jack of Diamonds”.

Kliun presented his new paintings at the St. Petersburg exhibition of the "Union of Youth"

Artists of the circle of Malewicz, whose closest associate was Ivan, were attracted by Cubism and Futurism. Kliun presented his new paintings at the St. Petersburg exhibition of the “Union of Youth”.

Presented his Cubist paintings "Gramophone", "Ozonizer", "Running Landscape"

Presented his Cubist paintings “Gramophone”, “Ozonizer”, “Running Landscape” at the “First Futuristic Exhibition Tram B”. Participated in the “Last Futuristic Exhibition of paintings 0.10.” In addition to painting, he began to create collages and spatial sculptures made of various materials (plates, faience, wire, etc. – “Musician”, “Cubist woman at her toilet”).

He became the organizing member of the Supremus group

He became the organizing member of the Supremus group headed by Malewicz. Abstract compositions in this style were presented at the “Jack of Diamonds” exhibition (“Flying form”, “The proportion of color effect”, etc.). Created illustrations for the booklet “Twisted vices of academics” published in it his article “Primitives of the 20th Century”.

Presented his cycle “The Art of Color”

Presented his cycle “The Art of Color” (62 suprematic works) at the Moscow Opening Day “Objectless Creativity and Suprematism” and announced his intention to turn to “living” color art and to leave Suprematism. He headed the Central Exhibition Bureau in “Narompros”, taught the discipline “Color” at the State Free Art Workshops, and actively collaborated with the Petrograd Porcelain Factory.

Presented his new figurative paintings

Presented his new figurative paintings, mostly still lifes, at the exhibition of the society “Four Arts”. The author himself defined his art as “constructive realism”. The following year, for health reasons, he retired from the accountant position and thus got a chance to fully devote himself to art. Having entered the Society of Russian Sculptors, he presented the non-figurative sculpture “Electrification” at his Second Exhibition. Designed books of Aleksei Kruchyonykh, painted posters for “Sovkino” to earn a living.

He painted portraits and genre compositions

The arrest of his son George, as well as the accusations of “formalism” that began in the previous year, forced the artist to move away from abstraction – he painted portraits and genre compositions, and also drew pictures from nature for the magazine of the Institute of Forestry “The Flaws of Wood”.