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©
Museo Nacional Thyssen-Bornemisza, Madrid
Ilya Chashnik

Suprematist Composition

1923
Oil on canvas.
183.5 x 112 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
506
(
1983.36
)
ROOM 43
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
During the period immediately after the Revolution, Ilya Chashnik belonged to the new generation of young Suprematist artists — such as Suetin and El Lissitzky — associated with Kazimir Malevich at the Vitebsk Artistic-Practical Institute, where he studied from 1919 to 1922. During those years he also belonged to the Suprematist group Unovis (Affirmers of the New Art), established by Malevich in 1919, and took part along with the other members of the group in the Exhibition of the Painting of Petrograd Artists of all Trends, held in 1923. Although there is insufficient information in the exhibition catalogue to identify the works, John Bowlt and Nicoletta Misler are inclined to think that the Suprematist Composition in the Thyssen-Bornemisza collection was included in the Petrograd show on the grounds of the inscriptions on the back of the canvas.

In the present painting, of which there are several versions, Chashnik follows the Suprematist ideas of interpreting reality using non-objective means. He provides a utopian image of a series of floating geometric shapes or architectural forms in free flight, which establish a very precise rhythmic pattern and create a kinetic tension. Like El Lissitzky’s Prouns, Chashnik’s compositions, which hint at an aerial view of an architectural complex, establish a perfect fusion of art and architecture.

Like Suetin, Chashnik later applied the principles of Suprematism to porcelain design and also collaborated with the Lomonossov porcelain factory.

Paloma Alarcó
20th Century20th Century - European painting. Russian avant-gardePaintingOilcanvas
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Leather case with Chasnick notebook

Leather case with Chasnick notebook

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Arte Americano en la Colección Thyssen (Exhibition catalogue. Spanish)

Arte Americano en la Colección Thyssen (Exhibition catalogue. Spanish)

39.00 € 25.00 €

Watch Swatch+Thyssen Mondrian The Red Shiny Line

Watch Swatch+Thyssen Mondrian The Red Shiny Line

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Poster Edgar Degas. Swaying Dancer, 1877-1879

Poster Edgar Degas. Swaying Dancer, 1877-1879

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More from the collection

Alexander Vesnin
Alexander Vesnin
Untitled (Geometrical Drawing)
ca. 1920 - 1921
Nikolai Suetin
Nikolai Suetin
Suprematism
1920 - 1921
El Lissitzky
El Lissitzky
Proun 5 A
1920
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Suprematist Composition. Composición suprematista, 1923
Suprematist Composition
Ilya Chashnik

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Suprematist Composition. Composición suprematista, 1923
Suprematist Composition
Ilya Chashnik

©

Museo Nacional Thyssen-Bornemisza, Madrid

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