Scooting past the hordes queueing to see Matisse’s cut-outs on a bank holiday Sunday, we were able to enjoy this wonderful exhibition in relative peace and quiet. Highlights (aside from seeing the Black Square in the ‘flesh’ – big, dark, textured) were the Futurist paintings, based on elemental geometric forms, and the series of graphite drawings near the end of the exhibition. I was struck by the artist’s confidence in composition – use of primary colours, basic lines and squares to establish a series of images which felt very ‘pure’ to see. He uses these elements sparingly and often at discordant angles. I also loved the qualities of the brush strokes up close – block colours are revealed to be built up through layers and white takes on a blue tinge, giving added depth and character. See ’Dynamic Suprematism’ for an example, but I also loved the simplicity of ‘Suprematist Painting’.
The paper drawings were set out in a timeline, giving an excellent view of how Malevich prepared to paint. The often tiny drawings – thanks to the price of paper in Russia – displayed a tightness of line and a playfulness with geometric shapes which developed throughout his life. Then, like a visual slap in the face were the naturalistic portraits which Malevich returned to in the 1930s: these were beautifully rendered paintings of relatives existed in sharp contrast to the figurative paintings beforehand, showing the true breadth and depth of his skills as a painter and artist.
Lastly, I loved some beautiful yet ad hoc linocuts by the artist Olga Rozanova – like twisted fairytale characters on playing cards. You can see some of the images here.
hannahbailey.org 