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Hubert Givenchy

From 22 October to 18 January 2014

Limited entry numbers. Early booking is recommended



Autor:
Robert Doisneau
Título:
Hubert de Givenchy
Fecha:
1960
Ubicacion:
© Robert Doisneau

American Impressionism

From 04 November 2014 to 01 February 2015

Limited entry numbers. Early booking is recommended



Autor:
Mary Cassatt
Título:
Autumn, 1880 (detail)
Técnica:
Oil on canvas
Medidas:
92,5 x 65,5 cm

Ubicacion:
Musée des Beaux Arts de la Ville de Paris, Petit Palais, París, PPP00706 © Petit Palais/Roger Viollet

Thyssen-Bornemisza Collection

Autor:
Nikolai Suetin
Título:
Suprematism
Fecha:
1920-21
Técnica:
Oil on canvas
Medidas:
70.5 x 53 cm
Úbicacion:
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 767 (1984.18)

More information about this work




Around 1914, when Malevich began to drift towards the constructive language of Suprematism, Nikolai Suetin, like Chashnik and El Lissitzky, converted to this new artistic ideology according to which art should explore a non-objective abstraction in order to represent visual analogies of experience. The following year Suetin took part in 0.10. The Last Futurist Exhibition of Paintings, which is considered to be the starting point of the new movement. Towards 1920, the year he probably executed the present canvas entitled Suprematism, Suetin was involved in the activities of the Unovis group (Affirmers of the New Art), established by Malevich in Vitebsk.

Unlike Malevich, who applied his theories exclusively to the two-dimensional surface, Suetin was always interested in representing in space the Suprematist notions of rhythm, weight and movement. Therefore not only did he produce a few reliefs, but shapes always appear to float in his painting.

In the 1920s Suetin followed Malevich’s directions on the social role of art and gradually gave up easel painting. As a result his activity shifted towards the production of designs for porcelain, textiles and other avant-garde applied arts, which enjoyed an unprecedented popularity during those years. In 1923 he began to work at the Lomonossov state porcelain factory in Saint Petersburg, where he applied the Suprematist aesthetic to decorating porcelain ware, in accordance with his dictum of “I multiply the world.”

Paloma Alarcó

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