Editing Kazimir Malevich (section)

== Avant-garde and Moscow (1904-1915) ==
In 1904, recognizing his style as increasingly more Impressionistic, he intended to receive more academic training and moved to [[Moscow]].<ref name=":0" />{{Rp|pages=5–6}} Between 1905 and 1910, he worked in the studio of [[Fedor Rerberg]] in Moscow. Malevich and other artists in Moscow gained an early exposure to Western avant-garde art, particularly to the works of [[Pablo Picasso]] and [[Henri Matisse]], through the private collection of [[Sergei Shchukin]].<ref>{{Cite web |last=Bartlett |first=Rosamund |date=2016-10-17 |title=The revolutionary collector who changed the course of Russian art |url=https://www.apollo-magazine.com/the-revolutionary-collector-who-changed-the-course-of-russian-art/ |access-date=2024-03-18 |website=Apollo Magazine |language=en-US |archive-date=20 January 2024 |archive-url=https://web.archive.org/web/20240120045959/https://www.apollo-magazine.com/the-revolutionary-collector-who-changed-the-course-of-russian-art/ |url-status=live }}</ref><ref name=":0" />{{Rp|page=10}} By 1904, as more French art was being reproduced and discussed in Russia in the magazine ''[[Mir iskusstva]]'', Malevich had also become acquainted with the work of [[Paul Gauguin]].<ref name=":2">{{Cite book |last=Milner |first=John |title=Kazimir Malevich and the Art of Geometry |date=1996 |publisher=Yale University Press |isbn=978-0-300-06417-9 |location=New Haven |language=en}}</ref>{{Rp|pages=2–4}}

Symbolism had an impact on Malevich's work during that time, as evident in paintings such as ''The Triumph of Heaven'' (1907) and ''The Shroud of Christ'' (1908).<ref name=":2" />{{Rp|page=9}} In 1911, he participated in the second exhibition of the group, ''[[Soyuz Molodyozhi]]'' (Union of Youth) in [[St. Petersburg]], together with [[Vladimir Tatlin]] and, in 1912, the group held its third exhibition, which included works by [[Aleksandra Ekster]], Tatlin, and others. In the same year, he participated in an exhibition by the collective, ''[[Donkey's Tail]]'' in Moscow. By that time, his works were influenced by [[Natalia Goncharova]] and [[Mikhail Larionov]], Russian avant-garde painters, who were particularly interested in Russian folk art called ''[[lubok]]''. Malevich described himself as painting in a "[[Cubo-Futurist]]" style in 1912.<ref name="HF">[[Hugh Honour|Honour, H.]] and Fleming, J. (2009) ''A World History of Art''. 7th edn. London: Laurence King Publishing, pp. 794–795. {{ISBN|9781856695848}}</ref>

In March 1913, Malevich participated in the ''Target'' exhibition in Moscow together with Goncharova and Larionov, continuing to reinterpret Futurist vocabularies to "suggest movement by breaking cone shapes into almost unrecognizable forms".<ref name=":0">{{Cite book |title=Kazimir Malevich, 1878-1935 |publisher=The Armand Hammer Museum of Art and Cultural Center |isbn=0-9626953-0-0 |editor-last=D'Andrea |editor-first=Jeanne |location=Los Angeles |publication-date=1990}}</ref>{{Rp|page=8}} Among other paintings, Malevich exhibited ''Morning in the Country after Snowstorm'' and ''[[The Knifegrinder (Malevich)|Knifegrinder or Principle of Glittering]]'', both made in 1912, at ''Target'' for the first time.<ref name=":0" />{{Rp|pages=8–9}} That same year, the [[Cubo-Futurism|Cubo-Futurist]] opera, ''[[Victory Over the Sun]]'', with Malevich's stage-set, debuts in Saint Petersburg. In 1914, Malevich exhibited his works in the ''[[Salon des Indépendants]]'' in Paris together with [[Alexander Archipenko]], [[Sonia Delaunay]], [[Aleksandra Ekster]], and [[Vadym Meller|Vadim Meller]], among others.{{citation needed|date=September 2013}}

Malevich also co-illustrated, with [[Pavel Filonov]], ''Selected Poems with Postscript, 1907–1914'' by [[Velimir Khlebnikov]] and another work by Khlebnikov in 1914 titled ''Roar! Gauntlets, 1908–1914'', with [[Vladimir Burliuk]].<ref name="WDL">{{cite web |url = http://www.wdl.org/en/item/9236/ |title = Selected Poems with Postscript, 1907–1914 |website = [[World Digital Library]] |year = 1914 |access-date = 28 September 2013 |archive-date = 28 November 2015 |archive-url = https://web.archive.org/web/20151128120209/http://www.wdl.org/en/item/9236/ |url-status = live }}</ref><ref name="WDL2">{{cite web |url = http://www.wdl.org/en/item/9555/ |title = Roar! Gauntlets, 1908–1914 |website = [[World Digital Library]] |year = 1914 |access-date = 28 September 2013 |archive-date = 3 October 2013 |archive-url = https://web.archive.org/web/20131003003855/http://www.wdl.org/en/item/9555/ |url-status = live }}</ref> Later in that same year, he created a series of lithographs in support of Russia's entry into WWI. These prints, accompanied by captions by [[Vladimir Mayakovsky]] and published by the Moscow-based publication house [[Segodniashnii Lubok]] (Contemporary Lubok), on the one hand show the influence of traditional folk art, but on the other are characterised by solid blocks of pure colours juxtaposed in compositionally evocative ways that anticipate his Suprematist work.<ref>Marie Gasper-Hulvat, "''What a Boom, What a Blast'': Kazimir Malevich's War Propaganda", [[Print Quarterly]], XXXV, no.4, December 2018, pp. 407–419 http://www.printquarterly.com/8-contents/66-contents-2018.html {{Webarchive|url=https://web.archive.org/web/20190213055118/http://www.printquarterly.com/8-contents/66-contents-2018.html |date=13 February 2019 }}</ref>

In 1911, Brocard & Co. produced an eau de cologne called ''Severny''. Malevich conceived the advertisement and design of the perfume bottle with [[craquelure]] of an iceberg and a polar bear on the top, which lasted through the mid-1920s.<ref>Alexandra Shatskikh, Translated in English by Marian Schwartz. [https://books.google.com/books?id=0m1Ar8IXIC0C&q=bottle ''Black Square, Malevich and the Origin of Suprematism''] {{Webarchive|url=https://web.archive.org/web/20230404184806/https://books.google.com/books?id=0m1Ar8IXIC0C&q=bottle |date=4 April 2023 }}, Malevich’s perfume bottle for the eau de cologne Severny, Page 94. Yale University Press. November 2012. {{ISBN|9780300140897}}</ref>

{{Multiple image
| image1            = Отдых (Общество в цилиндрах). 1908. ГРМ.png
| alt1              = 
| image2            = The Knife Grinder Principle of Glittering by Kazimir Malevich.jpeg
| caption2          = ''The Knifegrinder'', oil on canvas, 1912
| direction         = horizontal
| image3            = Kazimir Malevich, 1915, Black Suprematic Square, oil on linen canvas, 79.5 x 79.5 cm, Tretyakov Gallery, Moscow.jpg
| caption3          = ''Black Square'', oil on canvas, 1915
| align             = center
| caption1          = ''Party'', oil on canvas, 1908
| width             = 200
}}