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Vogue like a painting

From 30 June to 12 October 2015

Early booking is recommended

Peter Lindbergh
One enchanted evening, Taormina, Sicilia (detail)

Zurbarán. A New Perspective

From 9 June to 13 September 2015

Extended summer hours

Francisco de Zurbarán
Saint Serapion, 1628
Oil on canvas, 120.2 x 104 cm
Hartford, Wadsworth Atheneum Museum of Art, CT.
The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund

Thyssen-Bornemisza Collection

Ivan Kliun
Oil on canvas
88 x 69 cm
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 625 (1977.102)

More information about this work

“The nature that was ornamented by the Neo-Realists and the Neo-Impressionists was torn to pieces by Futurism . Suprematism has carefully painted these benumbed forms with different colours and presents them as a new art,” wrote Kliun in 1919. Ivan Kliun always remained faithful to his interest in depicting abstract forms and, unlike Suetin and other Suprematists , never turned towards the applied arts. In 1907 he had met Kazimir Malevich, who painted his portrait in 1913, and collaborated with him in 1916 in establishing the Supremus group and the magazine with the same name. However he soon eschewed the Suprematist models and developed a particular interest in the French purism of Léger and Ozenfant. Without abandoning the geometric structures of Suprematism or its plastic dogma, according to which independent geometric surfaces floated in space creating a sensation of the infinite, Kliun’s painting evolved towards compositions in which the essential element was the effect of luminescence.

The present Composition, executed in 1917, attests to the artist’s pursuit of a rational explanation of “colour, form, light and texture” through contrasts of light.

Paloma Alarcó

© 2009 Museo Thyssen-Bornemisza

Paseo del Prado 8, 28014 Madrid, España

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