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Klyun Ivan Vasilyevich (1870-1943)

Associates and followers K. Malevich , the author of a theoretical essay on Suprematism "Art of Color."

IV Klyun began his career with the artist of landscapes and still lifes made in the impressionistic style, and finished - still lifes and landscapes, meticulously calibrated, meticulously realistic.

Klyun studied at the Drawing School of the OPH in Warsaw (1880-90s).
At the beginning of the 1890s. he moved to Moscow, where he attended the studio of F. Rerberg, VF Fisher workshop I. Mashkov .

In 1907 Klyun meets K. Malevich , attached to his creative and theoretical search for new ways in art. In 1910, moving closer to the members of the association "Union of Youth."

Among his paintings of this period, "Portrait of the artist Malevich" (1912), "Fleeting Landscape" (1913), "Ozone", "Gramophone" (both 1914), "Flying sculpture", "Suprematism" (both 1915), "The musician "(1916), etc.
 Since 1913 Klyun worked on the creation of a new type of works - prefabricated in wood, metal, glass and other materials (the so-called skulptokartiny, piktorelefy). The artist is actively involved in the cultural life of the "futuristic" Moscow: in 1910, was one of the founders of the "Moscow Salon", and in 1915 took part in the drafting of the Suprematist pamphlet distributed at the exhibition "0.10", illustrated booklet A. E . Twisted "Secret vices academics," which published his essay "The Primitives of the 20th century", in 1916 was among a group of Kazimir Malevich "Supremus".

After the October Revolution Klyun much engaged organizational activities.
 in 1917-21 years. in charge of the All-Russia Exhibition central office of the Department Narcompros, taught painting at GSHM - Higher Art, was a member of the Board of INKhuK (1920-22). In 1918, together with AV Lentulov performed agitational clearance Theater Square in Moscow.
 in 1923, designed the book by Kruchenykh "Texture word. Declaration." Did not leave and training in the field of abstract art. The works of this time - "Scarlet recolors" (1919), "Suprematism" (1921), "Working on the principle of tsvetosvetovomu" (1925), "Portrait of AE Twisted" (1926), "Electrifying" (wood, metal, glass , 1926), "Building on the principle of movement" (1933).

Since the late 1930s. Klyun suddenly began to write realistic still lifes and landscapes nature generously razdarivaya their friends. The few surviving works by the talented artist objectivists, scattered in many prestigious collections of Russia, Europe and America, helping to restore not only the extraordinary career of the master, but also to recreate the context of the existence of non-objective, Suprematism, Russian abstract art and the beginning of the first third of the XX century.

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