Ivan Kliun

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Self-portrait (before 1903)

Ivan Vasilievich Kliun, or Klyun, born Klyunkov (Russian:Иван Васильевич Клюн; 1 September 1873, Bolshiye Gorky, Petushinsky District - 13 December 1943, Moscow) was a Russian Avant-Garde painter, sculptor and art theorist, associated with the Suprematist movement.

Biography[]

His father was a carpenter. In 1881, seeking to improve their economic condition, the family moved to Kyiv. In 1890, they moved again, to Russian Poland. He received his initial artistic education at the  [pl] in Warsaw, in the 1890s, while working as an accountant. In 1898, he relocated to Moscow, where he frequented the studios of  [ru] and Ilya Mashkov.

His most important contact, however, came in 1907 when he met Kazimir Malevich and was introduced to the Russian Avant-Garde. This influenced him profoundly, although he joined the  [ru] when it was created in 1910 and remained a member until 1916. He originally worked in the style but, in 1913, due to the influence of Malevich, he began exhibiting with a group from St. Petersburg known as the "Soyuz Molodyozhi" (Union of Youth). At this time, he became fond of Cubo-Futurism, began producing sculpture (under the influence of Vladimir Tatlin and later exhibited with several other Avant-Garde groups.

In 1915, he provided lithographs and a short chapter for the book, Тайные пороки академиков (The Secret Vices of Academicians) by the poet Aleksei Kruchyonykh. The book was a harsh criticism of Symbolism and decadence in general. That same year he became a follower of Malevich's Suprematism and, the following year, joined his group known as Supremus. While there, he helped prepare a manifesto and a journal that was never published. He also collaborated with the Verbovka Village Folk Centre; working with peasant artisans.

From 1918 to 1921, he was a Professor at Vkhutemas, the state art and technical school. From 1920, he was a member of Inkhuk (the Institute of Artistic Culture) and, after 1921, a Corresponding Member of GAHN ( [ru]).

Until the mid 1920s, his works were largely geometric forms. In the late 1920s, he developed an interest in modern Western European art, especially the French; copying works by Picasso and Braque. He was especially attracted to the works of Amédée Ozenfant. In the early 1930s, he created numerous still-lifes in the Purist style. From the mid 1930s on he, and most Soviet artists, were compelled to paint works of Social Realism. In response, he created realistic still-lifes and landscapes and gave them away to friends and family

Selected paintings[]

  • Portrait of the Artist's Wife (1910)

  • The Clockmaker (1914)

  • Suprematist Composition (1915)

  • Composition (1917)

  • Still-life with Flowers and a Jug (1929)

Further reading[]

  • Irina Atykovna Azizyan "K.Malevich and I. Klyun: from futurism to suprematism and objectless art", in 0.10, scientific-analytical newsletter of the KSMalevich Foundation. 2001. №2.
  • Kliunkova-Soloveichik, Svetlana; Ohotin, edited by Nicholas A. (1994). Ivan Vasilievich Kliun. New York, NY: IVK Art. pp. xix+379. ISBN 0-9638440-0-8.CS1 maint: extra text: authors list (link)
  • Vire, A. (2021). Art and Revolution in Ivan Kliun's work.(Unpublished master's thesis). Sorbonne University, Paris. Available online : https://sorbonne-universite.academia.edu/Ang%C3%A9linaVir%C3%A9/Thesis-Chapters
  • Angelina Vire "Ivan Klioune et la matière-couleur", 2020, available online : https://www.academia.edu/43300061/Ivan_Klioune_et_la_mati%C3%A8re-couleur

External links[]

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