”On company in the team ”Savasen”
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Kasimir Severinovich
Malevich
1879 - 1935 |
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Exceptional Investment-Opportunity
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Art Collector’s
Investors
Company’s
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Museums
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We believe that true wealth is not
based on material but on mental and cultural aspects.
We know that during 14th and 15th
centuries the famous Florentine Medici family was patron to Renaissance
artists.
The principal
cause of the family’s prosperity
is said to be due not to politics or power, but to its sponsorship of the arts,
supporting culture as a whole.
Today, into the 21st century, many
companies are attempting to build up art collections. Investment in art
contributes to culture and benefits the company at the same time strengthening
and improving its image - which will lead to greater acceptance of the type of
system in question. But, please, take not of all the private big investors that
put a lot of their cash in art. Maybe only of two reasons.
First as a nice decoration of the home and second as investing in art is a very
secure and nice way to invest money. You enjoy the art every day. It will not
be the same decorating your walls with share capital.
The Chase Manhattan Bank, for
example, has been a collector of art for over fifty years - aware of how
profitable this is for the company. The promotion of the art business implies
considerable prestige, which in turn reflects upon the company, as in the case
of companies such as IBM, MOBIL, PEPSICOLA, etc.
This strategy adopted by such
companies in relation to art has meant a real “boom” reflected by the lively
activity witnessed in the paintings business.
In the New York and London auction
markets it is evident that high prices encourage even higher prices - in this
way two giant auction houses, Sotheby’s and Christi’s, have increased their
sales considerably and have seen their business grow
substantially.
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World-record-price
for Picasso-painting
“Boy with pipe”,
painted by Picasso 1905 vas sold on Sotheby’s auction in
New York, May 2004.
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The acquisition of works of art
constitutes both an investment and a hobby. The purchase and sale of art does
not involve such (restrictive) “rule enforcement” as does investment in
property.
Ownership of art is simple. It is at
the time of valuation that problems can arise:
Ensuring that the purchase or sale
price is satisfactory, ascertaining the authenticity of the work, etc., is
where professionals with experience in this field are essential.
Mirol Art Invest is co-operating with the world’s best and highly recommended
specialists. True ours many years in the Art-business we have all the contact
“world around” for finding extremely rare paintings. We offer YOU our service,
and we are sure that you will be very happy with the painting you are buying
from Mirol Art.
On each
painting we have full documentation and this can be sent to you, when and if,
you are interested in specific paintings.
From
whatever artist you are locking for original works we will do our maximum best
to help you to find what you are looking for.
Title: “Two Peasant Women at the Road”.
Price: 3.300.000
US$
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3.300.000.00 USD = 2.547.301.97 EUR
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Dated: 1920.
Medium: Oil/canvas.
Size (cm): 39 x 31
Description: Signed (lower right) by the author.
Provenance:
Begining of twenties of
XX century the art was purchased by Mr Fedorov
I.I. from welknown
Mrs. Dobjchina N.E. in St.Petersburg.
She was the host of famous gallery in this city.
During the thirties
until the nineties the painting was underground. It was never exhibited (only
between private collectioners) due to political
censorship. During this period of time the
painting was kept without the frame.
In
the beginning of the nineties the art was put on new frame, due to that the
size has been a
liitle bit changed. At the end of
eighties (1989) the art was acquired by the present owner.
Expertise:
Chemical-technological
analysis by Prof. Golikov, 2001. Confirmed.
Composition of paints,background and canvas corresponded the time
of the painting. Conclusion of the art-expert S.Djafarova,
member of “Malevich’s” Fund gives confirmation
of the authorship and time of creating this picture. In 2004 Prof.
Elisabeth Jägers and Prof. Erhard Jägers have conducted chemical-technological analysis
that confirmed identity of the time and authorship of K.Malevich. (See
enclosures).
Literature:
Kasimir Malevich “Kasimir Malevich 1878-1935 und
der Suprematismus”, Erschienen bei Taschen Deutschland, 2003.Kasimir Malevich
„ Die gegenstandslosse Welt“, Berlin, 1980. Prof. Serabjanov,
“ Malevich”,
1990,
USSR
.
Andre Nakhov,
“Kasimir Malevich monography-catalog”, iss. 2003,
Paris. Shatskih, “K.Malevich”, 1998,
Russia
.
Research-Scientific Institute of MGU,
“Malevich”,
2002,
Russia
. Museum Guggenheim,
“Malevich”,
1999,
USA
.
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Kasimir Severinovich
Malevich
1879 – 1935
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Very important to the
work of Irwin and Laibach, right from the
beginning Tomaz Hostnik
adopted the Malevich cross as a Laibach icon. Overall his influence in abstract art
was far reaching in the art world; his work was pioneering but
unfortunately suffered under the Soviet regime's disregard for modern
art.
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Kasimir Severinovich
Malevich, born near Kiev,
Ukraine
on February 26th in
1879.
In 1903 he entered the Moscow Institute of Painting,
Sculpture and Architecture having earlier trained at the
Kiev
Drawing
School.The
Modernist style soon became his main focus and began experimenting with
the various styles, eventually taking a strong
interest in Cubism and its Italian offshoot Futurism.
He participated in the avant-garde exhibitions joining up with the
Moscow
Artist's Association, which also featured Vasily
Kandinsky and Mikhail Larionov. He broke
from the group in 1912 after the exhibition 'Donkey's Tail' where he
presented neo-primitivist paintings of
peasants. Meanwhile he shifted
from working with established modernist styles to developing his own
unique style and ultimately a new form of art.
In 1913 he began creating abstract geometric patterns in style he
called Suprematism - where art could be free
from the burden of the object.The painting Black square delivers a simplified
example. In the same year he teamed up with composer Mikhail Matiushin
and writer Alexei Kruchenykh to draft a
manifesto for the First Futurist Congress. They
also worked on the opera 'Victory Over the Sun', Malevich
designing the sets and costumes. May have inspired the title for the Laibach video 'Pobjeda Pod Suncem -Victory Under the Sun'.
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Malevich continued to develop his
new form of art, gradually adding more geometric shapes and expanding the
colour palette to produced more complex works.
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The aim was not concentrated on the conscious
experience of looking at the painting but also hoped to delve into the
unconscious as well. Looking beyond the external world as a basis for the
art, instead uses objects, shapes and colour to invoke these experiences,
inevitably a certain level of tuning in is required.
He exhibited the Suprematist
works for the first time at '0.10: The Last Futurist Exhibition' which
took place in
St. Petersburg
in December 1915. This exhibition has since been credited in launching
two new styles 'Constructivism' along with 'Suprematism',
which dominated art in
Russia
including image design, architecture and theatre until Socialist Realism
was forcibly introduced.
Initially following the Russian Revolution; Malevich along with other established artists where
encouraged and offered good teaching or
administrative posts.
Malevich took up a teaching post with the
Vitebsk
Popular
Art
School in 1919 and
soon became its director.
Malevich formed the Suprematist
art group 'Unovis - Establishers of the New
Art', with his students from
Vitebsk. Just before he
began teaching, he had felt he had taken Suprematism
as far as it could go after the 'White on White' paintings and began
working with other styles such as Constructivism and concentrating on
teaching and writing.
Suprematism never the less continued and its
popularity remained strong as other artists such as the constructivist
artist Lissitzky (who was a colleague of Malevich's at
Vitebsk and also in Unovis) and others who were inspired developed the
style.
Malevich himself did paint again in the Suprematist
style; the 'Black Cross' painting in 1923 - the source of the Laibach cross.
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Vitebsk
Popular
Art
School - Kazimir
standing right
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Malevich left
Vitebsk in 1922 and moved to Petrograd
(formerly
St. Petersburg and soon to be
Leningrad) to take up the position as Professor of
the
Institute
of
Artistic Culture.
The main focus was working on architecture models
with his students, meanwhile writing his book 'The Nonobjective
World' which was published in 1926.
The book deals with his Suprematist
theory and the quest to deliver the hypothetical fourth dimension within
art; basically the fourth dimension was generated from the art and sensed
by people who were able to understand the art.
He continued his post at the Institute until 1927.
In the same year he travelled to
Warsaw
for an exhibition of his paintings, before taking it over to
Berlin's Grosse
Berliner Kunstausstellung.
While in
Germany
he met up with Naum Gabo, Jean Arp, Le Corbusier, and Kurt Schwitters.
He visited the
Bauhaus in
Dessau
where he met the architect Walter Gropius
(founder of Bauhaus) who was serving as its director. His contacts
with German artists would soon be a problem.
In 1929 Malevich held a solo exhibition
at the Tretiakov Gallery in
Moscow. The communist authorities were
becoming increasingly intolerant to anything that did not conform to
their ideals; lately Malevich's status was
quickly declining in favour of the artists of the Socialist Realism.
His connections with Germans artists resulted in his
arrest in 1930 and the subsequent destruction of many of his
manuscripts. Malevich continued to paint mainly in
more conventional style, but life was now very difficult and a struggle
to survive.
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He
died penniless in
Leningrad
1935.
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