training, from whom he learns about the particular characteristics of the Moscow art schools and the Saint Petersburg Academy of Arts. With one of these artists, Lev Kvachevsky, he often works outdoors. Malevich's work becomes increasingly impressionistic. He feels an urgent need for academic training and decides to seek it in Moscow. In order to pay for his stay there, he takes a job as a technical draftsman for the railroad. 1904 In autumn Malevich goes to Moscow. 1905 "Bloody Sunday", 9 (22) January, marks the beggining of a year of political and social unrest. Beginning in Saint Petersburg with the armed breakup of a peaceful demonstration by working-class people for improvements of working and living conditions, it ends with the Battle of Barricades at the end of the year in Moscow. Malevich returns to Kursk in spring and continues to paint outdoors; his work takes on a neo-impressionist character. Returns to Moscow in the autumn. In December he participates with striking workers in the Battle of the Barricades. Between 1905 and 1910 he works in the studio of the Moscow painter Fedor Rerberg (1805-1938). 1906 Malevich produces some Symbolist designs for commercial products. 1907 Malevich moves permanently to Moscow with his mother, wife and daughter. In March he shows twelve sketches in the fourteenth exhibition of the Moscow Association of Artists, the earliest recorded publication of his work in a catalogue. Dther participants include Vladimir Burliuk (18881917), Natalia Goncharova (18811962), Vasilii Kandinsky (18661944), Mikhail Larionov (1881-1964), Alexei Morgunov (1884-1935) and Alexander Schevchenko (18821948). The exhibition in April-May of the Moskow Symbolistartists' group Blue Rose, sponsored by the painter and art collector Nikolai Riabushinsky (1876-1951), makes an unforgettable impression on Malevich. 1908 In'Moscow, early in the year, the brothers David (1881-1967) and
Vladimir Burliuk organize Wreath, the first in a series of exhibitions to be held in Moscow and Saint Petersburg with Goncharova, Larlonov, Aristarkh Lentulov (18821943), Georgil Yakulov(1884-1928) and others. The first Golden Fleece exhibition, held in Moscow in April-May, includes not only the work of Russian artists such as Goncharova and Larionov, but also a large section or French art, including works by Bonnard, Braque, Cézanne, Dera in, Van Dongen, Gauguin, Gleizes, Van Gogh, Le Fauconnier, Matisse, Metzinger, Redon, Signac and Vuillard. Malevich takes part in the fifteenth and sixteenth exhibitions of the Moscow Association of Artists, the latter at the end of the year, with several studies for fresco painting. 1909 In January-February four Cubist works by Braque, among others his Nude of 1908, are shown in the second exhibition of the Golden Fleece, together with works by Derain, Van Dongen, Le Fauconnier and Matisse. Malevich's first wife leaves him. Together with the artist V Petin, Malevich decorates the church in Mstera. Malevich meets Sofia Mikhailovna Raphalovich, daughter of a psychiatrist, and enters a second marriage. At the end of the year he participates for the last time in the exhibition of the Moscow Association of Artists with four works: Picking flowers, Village, Pramenade and Ride. Among other participants are Lentulov and Morgunov. 1910 Becomes acquainted with Goncharova and Larlonov. Concerned with giving their Late Impressionist, Fauvist work a more definite Russian stamp, they increasingly seek inspiration in primitive Russian folk art and icon painting; the work that results becomes known as Neo-primitive. Malevich becomes especially interested in the work and ideas of Goncharova. In December, Malevich is invited by Larionovand Goncharova to take part in the first exhibition of Jack of Diamonds, a collaboration of the new generation of innovative artists: the Russian oriented NeoPrimitivists, such as the Burliuk
brothers, Goncharova, Larionovand Malevich; the Parisian-oriented "Cézannists", such as Alexandra Exter (1882-1949), Robert Falk (1886-1958), Petr Konchalovsky (1876-1956), Lentulov and lIia Mashkov (1881-1944); and the Expressionists who had settled in Munich, such as Alexei Jawlensky (1864-1941), Kandinskyand Gabriele Münter (1877-1962). , Among the participants from abroad are Gleizes and Le Fauconnier from Paris. Malevich shows three works: Bathing Woman, Fruits and Maid with Fruits. In December the Moscow art collector Sergei Schukin (18511936) acquires Matisse's monumental paintings La Danse andLa Musique. 1911 At the first Moscow Salon, in which Ivan Kliun (1873-1943) also participated, Malevich shows three series of works, the Yellow Series with representations of saints and angels, the White Series and the Red Series with representations of bathers and bathhouses. In April-May, Malevich takes part in the second exhibition of the Saint Peterburg group Union of Youth, together with fellow Moscow artists David and Vladimir Burliuk, Goncharova, Larionov, Morgunov and Vladimir Tatlin (1885-1953), the last introduced by Larionov. Malevich shows four works. 1912 Larionov and Goncharova resign from the Jack of Diamonds association, beca use they feel excessive attention is given to Western European, and especially Frenchdevelopments at the expense of characteristic Russian art. Simultaneous with the second Jack of Diamonds exhibition (March), theyorganize their work exhibition, Donkey's Tall, together with a group of sympathizers, including Malevich, Morgunov, Shevchenko, Tatlin and the newcomer Marc Chagai! (18871985). The exhibition is the climax as well as the last important event in the history of Neo-Primitivism. Malevich shows a large group of works depicting peasant life in a Neo-Primitivist style. In the second Jack of Diamonds exhibition, Fernand Léger (18811955) shows his Essai pour trais portraits of 1910-1911. The Saint Petersburg painter and
composer Mikhail Matiushin (18611934) visits Moscow with Diga Rozanova (1886-1918) and other members of the Union of Youth to bring about a collaboration between the Moscow and the Saint Peterburg avant-garde. The meeting between Matiushin and Malevich marks the beginning of a lifelong friendship. In April eight members of the Donkey's Tail group participa te in the third exhibition of the Union of Youth. Malevich shows four works that were also in the Donkey's Tail exhibition. At the end of the year he places five works in the first Contemporary Art exhibition in Moscow: Man with Scythe, Peasant Woman with Buckets and Child, Reaping Woman, Peasant's Head and Harvest. At the same time he takes part in the fifth exhibition of the Saint Petersburg Union of Youth, with works including Harvest, Man with Scythe, In the Field and Portrait of Kliun. Among other participants from Moscoware David and Vladimir Burliuk, Goncharova, Larionov, Shevchenko, Tatlin and Ivan Puni (1894-1956), a new member. In the works shown in both exhibitions, his earlier natural forms have given way to cone-shaped, apparently "metallic", denaturalized forms. In the catalogue of the fourth Union of Youth exhibition late in the year, he describes them as zaumnyi realism (Transrational Realism). In December, David Burlluk and the writers Alexei Kruchenykh (18861968) and Vladimir Maiakovsky (1893-1930) launch their own manifesto, "A Slap in the Face of Public Tas te ", asserting the poet's right to create new words by making use of arbitrary and deriva te words. 1913 Dn 3 (16) January, Malevich is enrolled as a member of the Union of Youth, along with David and Vladimir Burliuk, Morgunovand Tatlin. In February, Malevich tells Matiushin that the only meaningful direction for painting is that of Cubo-Futurismo Dn 23 March (5 April), a day before the Target exhibition opens in Moscow, Malevich speaks about contemporany art at the first of two panel-discussion evenings organized by the Union of Youth in Saint Petersburg.
Participates in the Target exhibition organized by Larionov in MarchApril. While Larionov and Goncharova exhibit their interpretation of Italian Futurism, which they call Rayonism, Malevich's interpretation of Futurism suggests movement by breaking cone shapes into almost unrecognizable forms: Morning in the Country after Snowstorm, Peasant Woman with Buckets, Dynamic Deconstruction and Knife GrinderjPrinciple of Flickering (the work entitled Dynamic Deconstruction ( Dinamicheskoye razlozheniye) is possibly The Woodcutter ). In July, Matiushin invites Malevich to help create an opera (together with Velimir Khlebnikov (1885-1922) and Kruchenykn) for the Saint Petersburg Union of Youth. From 1820 July (31 July-12 August), Matiushin, Malevich and Kruchenykn assemble at Uusikirkko, Finland (now a Soviet collective farm Victory, ten kilometres from the railroad station Kanneliarvi, north of Leningrad), for what they call the First AII-Russian Congress of Poets of the Future (PoetFuturists). They end the project with a manifesto announcing the opera Victory over the Sun. The manifesto goes on to advocate destruction of the clean, clear, honest, resonant Russian language, the antiquated movement of thought based on laws of causality and the elegance, frivolousness and beauty of cheap artist and writers who constantly issue newer and newer works in words, in books, on canvas and paper. Malevich produces lithographic illustrations for a number of books, some in cooperation with Rozanova, written or published by Kruchenykh: Explosion (Vsorvel), Let's Grumble (Vozropshchem), Piglets (Porosiata), The Three (Troje) andThe word as Such (Slovo kak takavoje). Dn 3 and 5 (16 and 18) December Victory over the Sun is staged at the Luna Park Theater in Saint Petersburg with pro loque by Kruchenykn, music by Matiushin, and costumes and decor designed by Malevich. In the concurrent seventh and last exhibition of the Union of Youth, Malevich shows two groups of works: one from 1912-1913, of his figure compositions made up of 273