Vystavka proizvedenii K. S. Malevicha (Exhibition of the works of K. S. Malevich) Gosudarstvennaia Tret’iakovskaia Gallereia.
Fedorov-Davydov, A.

Moskva: Izdanie Gosudarstvennoi Tret’iakovskoi Gallerei (printed by Pravda), 1929.

Within original paper wrappers. Reproduction of “Na senokose” in black and white. 10, [2] p. 17.3 x 12.8 cm. Glavit no. A-51089. Edition of 1000.This booklet, published in conjunction with an exhibition of Malevich’s works at the Tret’iakov Gallery, includes a biography of the artist. The author, Aleksei Fedorov-Davydov (1900–1969), at the time the head of the Department of modern Russian art at the Tret’iakov, was a prominent art historian known for analyzing the “social nature of artistic systems” (The Great Soviet Encyclopedia, 3rd Edition (1970-1979)). He contextualizes Malevich’s work by describing the increasing chasm between manufacture and artistic craftmanship that has developed since the introduction of machines. Kazimir Malevich (1878–1935) had achieved international recognition after his exhibitions in Berlin and Munich in 1927. Within a few years of this exhibition at the Tret’iakov (1929), the Stalinist regime rejected “bourgeois” abstract art, resulting in Malevich being banned from creating such works. Fedorov-Davydov’s text seems to reflect the tension between Malevich’s newfound prominence and his soon-to-be-rejected aesthetic, as he stresses exhibit’s importance to up-and-coming artists. “On the one hand,” he writes, “this era reached its climax with the whole system engendered by the isolation of bourgeois culture of art from life, on the other, it constructed the germs of those new forms of art that are now growing in front of our eyes” (Translation from Kokkori, 138).

BL 375. Getty 481. MoMA 828. OCLC locates six copies at the Tate, Frick, MoMA, UNC-Chapel Hill, Getty, and British Library.Reference: Kokkori, Maria, “Exhibiting Malevich under Stalin,” in Utopian Reality: Reconstructing Culture in Revolutionary Russia and Beyond, ed. Christina Lodder, Maria Kokkori, and Maria Mileeva (S.l.: Brill, 2013): 138.