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Antoni Tàpies is a Spanish Catalan painter. He is one of the famous artists of European abstract expressionism. He is perhaps the best-known Catalan artist to emerge in the period since the Second World War. In 1948, Tàpies helped co-found the first Post-War Movement in Spain known as Dau-al-Set which was connected to the Surrealist and Dadaist Movements.
Tàpies started as a surrealist painter, his early works were influenced by Paul Klee and Joan Miró; but soon become an abstract expressionist, working in a style known as "Arte Povera", in which non artistic materials are incorporated into the paintings. In 1953 he began working in mixed media; this is considered his most original contribution. One of the first to create serious art in this way, he added clay and marble dust to his paint and used waste paper, string, and rags.
His international reputation was well established by the end of the 50s. From about 1970 (influenced by Pop art) he began incorporating more substantial objects into his paintings, such as parts of furniture. Tàpies's ideas have had worldwide influence on art, especially in the realms paintings, sculpture, etchings and lithography.
Robert Delaunay was a French painter who first introduced vibrant color into Cubism and thereby originated the trend in Cubist painting known as Orphism. He was one of the earliest completely nonrepresentational painters, and his work affected the development of abstract art based on the compositional tensions created by juxtaposed planes of color.
Delaunay was at first a theatre designer and painted only part-time. But he soon came under the influence of the Neo-Impressionists’ use of colour. By 1910 he had made his own contribution to Cubism in two series of paintings, cathedrals and the “Eiffel Tower,” which combined fragmented Cubist form with dynamic movement and vibrant colour. This new and individual use of pictorial rhythms and colour harmonies had an immediate appeal to the senses and, combined with poetic subject matter, distinguished him from the more orthodox Cubist painters. His Orphic style, adopted also by his wife, the painter Sonia Terk Delaunay (1885–1979), had an immediate influence on the work of Der Blaue Reiter (The Blue Rider), a Munich-based group of Expressionist painters.
Two years later he found his way toward completely nonobjective painting when he made his “Colour Disks” and “Windows” series of paintings. Together with his wife, Delaunay worked on large and impressive abstract mural decorations for the Paris Exposition of 1937. Delaunay continued to paint works that restated his Orphic theories.
"The Act of Painting, Intuition (Works on paper)" traveling exhibition
Takarazuka Arts Center, Cube Hall
2021.09.10-12
"The Act of Painting, 直感 (紙作品)" 巡回展
宝塚市立文化芸術センター キューブホール
2021.09.10-12
takarazuka-arts-center.jp/wordpress/2021/08/05/20210910_1...
展覧会：加藤義夫芸術計画室 × TAOP
INTUITION！ Works On Paper
直感 紙の作品
会期：2021年9月10日（金）～12日（日）10:00～18:00 ※最終日は15:00まで。
会場：宝塚市立文化芸術センター 1階キューブホール
入場料：無料
主催：加藤義夫芸術計画室 × TAOP
展覧会に関するお問い合わせ：
【The Act Of Painting】https://www.theactofpainting.com/
【日本お問い合わせ】mail@mayakonakamura.jp（中村）
関連事業 （センター共催）：
★ワークショップ★
からだを使って色と遊ぼう！
◆日時：9月11日（土）A13:00～14:00 B15:00～16:00
◆参加料：無料
◆定員：各5名
A-1 絵具を流して描いてみよう 13:00～14:00
A-2 まるをいっぱい描いてみよう 13:00～14:00
B-1 手足を筆にして描いてみよう 15:00～16:00
B-2 絵具を飛ばして描いてみよう 15:00～16:00
◆対象年齢：小学校1～6年生
※汚れてもよい服装でお越しください。
※手や足を洗った後に拭くタオルをご持参ください。
◆会場：1階キューブホール
◆講師：柴田知佳子・中村眞弥子
ワークショップ申込方法★以下の2つの方法で受付★
※受付開始は 8月31日（火）10:00～
【宝塚市立文化芸術センター】
●電話：0797-62-6800
※電話受付は10:00-18:00、水曜日（休館日）を除く
●メール：event@takarazuka-arts-center.jp
※以下の件名・情報をご記載の上、送信ください
【件名】TAOPイベント申し込み
【本文】①氏名、②ワークショップ番号（A-1、A-2、B-1、B-2）、③ご連絡先、④宝塚市立文化芸術センターの個人情報の取り扱いに同意する
※同じ時間（A-1とA-2など）の同時参加は不可です。
※AとBの連続参加は可能です。
★アーティストトーク★
加藤義夫×柴田知佳子×中村眞弥子◆日時：9月12日（日）13:00～14:00
◆定員：先着30名（申込不要）
◆参加料：無料
◆会場：1階キューブホール
※ライブ配信を行うため、会場の撮影を行います。あらかじめご了承ください。
主催：加藤義夫芸術計画室 × TAOP
共催：宝塚市立文化芸術センター
関連事業に関するお問い合わせ：宝塚市立文化芸術センター [指定管理者：宝塚みらい創造ファクトリー]
TEL：0797-62-6800
MAIL：info@takarazuka-arts-center.jp
Oil on canvas; 40.9 x 30.5 cm.
Tamara de Lempicka (aka Maria Gorska) was a Polish painter known for the “soft cubism” by which she epitomized the sensual side of the Art Deco movement (her renderings of stylishly sexy, bedroom-eyed women remain unmatched to this day). Tamara attended boarding school in Lausanne, Switzerland before moving to St. Petersburg, Russia (where she experienced the Bolshevik Revolution)— then on to her own bohemian twenties in Paris during the Roaring 20s, where she quickly became the most fashionable portrait painter of her generation (especially among the haute bourgeoisie and aristocracy who both criticized and admired her “perverse Ingrism.”)
Abstract Expressionism in photography, inspired by well-known abstract artists of the mid-20th Century such as Mark Rothko, Jackson Pollock, Frank Bowling, Gerhardt Richter and orthers.
Oil on canvas; 240 x 294.6 cm.
Yayoi Kusama (草間 彌生 or 弥生 Kusama Yayoi?, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, sculpture, performance art and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced contemporaries such as Andy Warhol and Claes Oldenburg.[1] Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.
Born in Matsumoto, Nagano into an upper-middle-class family of seedling merchants,[2] Kusama started creating art at an early age, going on to study Nihonga painting in Kyoto in 1948. Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement. Switching to sculpture and installation as her primary mediums, Kusama became a fixture of the New York avant-garde, having her works exhibited alongside the likes of Andy Warhol, Claes Oldenburg and George Segal during the early 1960s, where she became associated with the pop art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots.
In 1973, Kusama moved back to her native Japan, where she found the art scene far more conservative than that in New York. Becoming an art dealer, her business folded after several years, and after experiencing psychiatric problems, in 1977 she voluntarily admitted herself to a hospital, where she has spent the rest of her life. From here, she continued to produce artworks in a variety of mediums, as well as launching a literary career by publishing several novels, a poetry collection and an autobiography.
Kusama's work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design. Major retrospectives of her work have been held at the Museum of Modern Art, the Whitney Museum, and Tate Modern, whilst in 2008 Christies New York sold a work by her for $5.1 million, then a record for a living female artist.
Ink on rice paper; 68 x 136 cm.
Liu Jian was born in 1956 in Hubei, in 1983 graduated from Hubei Academy of Fine Arts, now the Shenzhen University Teachers College art professor, master tutor. Liu Zijian abstract contemporary Chinese ink painting is one of the pioneers and promoters, spiritual and creative themes involving soul, sky and space, cosmology, etc., representative of Ecstasy , Xiao tone, planetarium.
1992 Liu Zijian from Wuhan to Guangzhou, then south, with the gallery Ink magazine did some experiments to try, then ink industry for this type of attempt to hold two kinds of distinctive attitude(www.best-news.us/). 'Ancients rice paper, pen, ink outside Materials have to give up, if today our artists also followed the practice of ancestors, just make some small changes, does not meet the requirements of the times. 'Liu Zijian think, began to work on their own,' Dong Daozi(Favorites News www.best-news.us/). '
He abandoned brush, use Brush, the concept of black and white reversed, will be inflicted with a black background, past landscape flowers schemata, into pieces and geometric shapes. Traditional ink used to seeing people Liu Zijian's new work produced strangeness, 'we see no longer figurative things, but some very disorderly things, because those who do not know what it is, it feels very abstract.' Liu Zijian referred to those things, are his collection of garbage and he will waste rubbing down and took it as a texture or traces remain in the picture above.
Drawn from household waste, derived from the Liu Zijian lamented that 'this day and age is very chaotic, constantly manufacturing waste, the relationship between man and nature is not as harmonious as the ancient landscape painting flowers and birds.'
After a period of avant-garde creation, Liu Zijian achieve the original aspirations - people accept rice paper, water, ink can be a media openness in recent years, he began to look back to tradition, not only rubbing objects from the garbage change became a well-designed wood, techniques are also much more complicated than in the past, Liu Jian Chu during the Warring States also draws on cosmology as the screen language, add a little black and white tone gold, action painting continues simple screen language.
Abstraction is what? 'Abstract is the symbol of the composition, is the symbol of my pieces.'
Fragmentation refers to what? 'Life destruction. Perfect life is a circle, and collision due to become floating debris, debris is between life and death in the process.'
Liu Zijian take Spanish surrealist painter Salvador Dali's works for comparison, he said Dali also used the geometry substitute something, his paintings contain many metaphors, but China's contemporary ink artists like Dali's luck did not get recognized. 'the West from classical to modern fully comply with their artistic development of the law in China, ink is a very subtle thing, do a little avant-garde transformation, it is considered with a strong subversive.' Liu Jian explained, 'because our tradition is not provided for the later Art Nouveau too much space, they are like old-fashioned family stubborn parents did not give their children too much room for development. '
Traditional and contemporary conflicts, Liu Zijian be understood as 'Time to set the situation for the Ink Artist', hoping a 'Dali' type of character resolve the conflict, 'When future generations of Chinese contemporary art history writing, when, if not utilitarian Marxism and opportunism judge an artist, I think this piece would like to achieve in the traditional culture of modern artists who convert their achievements and significance is much higher. '
Q & A
Beijing News: Contemporary Chinese Art Ink can become a unique artistic language, and international dialogue?
Liu Zijian: Ink can be a unique language, but now increasingly blurred the definition of artistic categories, even a person with a pure media engage in the arts, we can not call it a pure media. Only the Chinese have such a situation, have called Ink, 'ink' word at best is written on the card in the works. foreign dialogue of contemporary art is not what kind of media dialogue.
www.best-news.us/news-4866666-Su-Planeshifter-Artist-Liu-...
Oil on canvas; 107.3 x 123.8 cm.
Arshile Gorky, original name Vosdanik Adoian (born April 15, 1904, Khorkom, Van, Turkish Armenia [now in Turkey]—died July 21, 1948, Sherman, Conn., U.S.), American painter, important as the direct link between the European Surrealist painters and the painters of the American Abstract Expressionist movement.
Gorky’s early life was disrupted when his father abandoned Turkey, his wife, and his family in order to avoid service in the Turkish army. The rest of the family soon fled to Armenia to escape Turkish persecution and were subsequently dispersed. In 1920 Gorky emigrated to the United States, where he rejoined his sister in Watertown, Mass., and assumed the pseudonym by which he became known. The name Arshile is derived from Achilles, the brooding Achaean hero of the Iliad. The name Gorky (Russian for “the bitter one”) is derived from that of the writer Maksim Gorky.
After studying painting at the Rhode Island School of Design, Gorky enthusiastically entered into the Bohemian life of Greenwich Village in New York City, occasionally passing himself off as a successful Russian portraitist who had studied in Paris and experimented with Automatism. From 1926 to 1931 he taught at the Grand Central School of Art. Early in his career, he hit on the idea of becoming a great painter by subjecting himself to long apprenticeships, painting in the style of such artists as Paul Cézanne, Joan Miró, and Pablo Picasso. His aim was never merely to imitate the work of others, however, but to assimilate fully their aesthetic vision and then move beyond it.
Gorky remained stylistically unable to move beyond the work of his mentors until about 1939, when he met the Chilean Surrealist painter Roberto Matta. The Surrealists’ idea that art is the expression of the artist’s unconscious enabled Gorky to discover his personal idiom, which he pursued the last eight years of his life. In such works as “The Liver Is the Cock’s Comb” (1944) and “How My Mother’s Embroidered Apron Unfolds in My Life” (1944), biomorphic forms that suggest plants or human viscera float over an indeterminate background of melting colours. The erotic significance of the loosely painted forms and elegant, fine black lines is often made explicit in such titles as “The Diary of a Seducer” (1945) and “The Betrothal II” (1947). The years that saw Gorky finally emerge as one of the most important painters in the United States were marked by personal tragedy, however. In early 1946 he lost many of his paintings in a studio fire, and soon after he underwent an operation for cancer. In June 1948 his neck was broken in an automobile accident and he lost the use of his painting hand. His wife left him the following month, and shortly thereafter he hanged himself.
Abstract composition in purple on blue, a structure/color study. July 25, 2015. Photo by Alecsey Boldeskul.
Oil on canvas; diptych; 130 x 390 cm.
As the third son of the Chu family, Teh-Chun was born on 24 October 1920 in Baitou Zhen, in the province of Jiangsu. This agricultural region of China made up of plains, watercourses and canals and which is also called the ‘water country’ will mark him deeply and give the artist Chu Teh-Chun a luminous palette. He comes from a prosperous family of medical doctors, who are collectors of traditional Chinese painting.
In 1935, he enters the National School of Fine Arts in Hangzhou where he meets his contemporary Zao Wou-Ki. At the time not just traditional painting was taught; painters who had lived in France had brought back art reviews and reproductions of Renoir, Matisse, Picasso and Cézanne which fascinate Chu Teh-Chun. With impressionism, he discovers another technique and another vision of art.
The declaration of the Sino-Japanese war on 7 July 1937 leads to a relocation of the school inside the country. During this exodus which lasts two years, Chu Teh-Chun discovers the depth of the Chinese countryside and remembers extraordinary landscapes.
At the end of his studies in 1941, he is immediately appointed as an assistant professor. He teaches in the architecture department of the central University of Nankin from 1944 to 1949. He then becomes a professor in Taipei and then in Taiwan, while continuing his exhibitions.
His status ensures he has a comfortable existence, but he nonetheless dreams of leaving to divest himself of academic conventions. So he therefore leaves China in 1955, at the age of 35 with his wife Ching-Chao. During the long journey which brings him to Europe, he makes a stopover in Cairo where he discovers Pharaonic art, which is his first real contact with western art. He arrives in France, a mythical country discovered during his studies through its painters and he sets up home in Paris.
Modern art then enters Chu Teh-Chun’s life. He leaves a frozen world for a world in movement. 1955 is the year of Nicolas de Staël’s death, Mark Tobey proposes his exhibition ‘the Movement’ at Jeanne Bucher’s premises, the Denise-René gallery presents the kinetic art of Agam, Pol Bury, Calder, Duchamp and Vasarely. Chu Teh-Chun discovers that the painters’ media and materials are different from those which he knows. One year after his death, the City of Paris National Museum of Modern Art holds a Nicolas de Staël retrospective. This event has a lasting impact on Chu Teh-Chun who is moved by the embedded, architectural shapes in ranges of restrained colours. He draws inspiration from them in his own paintings and replaces the traditional urban views which he painted at his arrival in Paris by a free proliferation of lively colours with material effects. Nature, its landscapes and its climatic phenomena are always his main sources of inspiration. Chu Teh-Chun’s painting ‘is a place of colours and shapes, born
He begins to exhibit his work in galleries from the years 1958-60. Thus he holds his first exhibition in the Legendre gallery and is noticed by critics. Maurice Panier, the artistic director of the Legendre gallery, offers him an exclusive contract for six years, which enables Chu Teh-Chun to invest in a workshop. He meets other artists from the gallery, some of whom such as Kijno or the sculptor Féraud will become his friends. And he becomes part of Parisian artistic life.
Abstraction then becomes a necessity for the Chinese artist. For him, it is a language which becomes incessantly renewed and which allows him to communicate more easily, with greater spontaneity and freedom of movement. His paintings are rich and it is difficult to retrace the path of the artist’s hand, to find a start and an end to it.
In 1983, he is invited by the department of Fine Arts of the University of Hong Kong to be on the final year examining board. The Chinese Union of Artists offers him an opportunity to rediscover his own country which he had not visited for 28 years. He then happily re-explores the China of his childhood. Invited for a second time in 1986, he shows a retrospective of his work at the Taipei national History Museum in 1987. He has been out of his country for thirty-two years and this is the first time that he is showing all of his work.
During the 1990s, he sets up home in Vitry-sur-Seine in Val de Marne and has a vast well lighted workshop. He now favours large formats, diptychs and triptychs, which he exhibits throughout Europe, the United States and the Far East. Major monographs are published and he is awarded several public commissions.
The years after 2000 are the symbol of recognition of Chu Teh-Chun’s work. In 2001, he becomes a Chevalier of the Order of Academic Palms and is then appointed as a Chevalier of the Legion of Honour by the President of the French Republic. He accompanies Jacques Chirac to Beijing in the context of the year of France in China. The latter describes him, like Zao Wou-Ki, as ‘symbols (…) of the meeting between cultured Chinese tradition and contemporary French painting’ and awards him the title of Officer of the National Order of Merit in 2006. In the same year, Chu Teh-Chun receives the European Gold Medal of Merit in Luxembourg.
The final proof of the establishment of his work is his first personal exhibition at the Marlborough Gallery in New York in May-June 2006.
2008
The National Museum Of History, Taipei (China), Exhibition 88 Retrospective (19/09 - 23/11)
2009
Malborough Fine Art Gallery, London, from March, 4th to 28th
Musée Guimet, Paris, De neige, d’or et d’azur (Of snow, gold and azure), 56 ceramics vases, from June, 10th to September, 7th.
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
Born and trained in Germany, he moved to America during the Nazi era. His specialty was geometric abstraction and color study. Albers' work represents a transition between traditional European art and the new American art. His work incorporated European influences from the constructivists and the Bauhaus movement, and its intensity and smallness of scale were typically European. However, his influence fell heavily on American artists of the late 1950s and the 1960s. "Hard-edge" abstract painters drew on his use of patterns and intense colors, while Op artists and conceptual artists further explored his interest in perception.
Oil on canvas; 213.4 x 142.1 cm.
Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was an influential American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting.
During his lifetime, Pollock enjoyed considerable fame and notoriety, a major artist of his generation. Regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.[1]
Pollock died at the age of 44 in an alcohol-related, single-car accident; he was driving. In December 1956, several months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City. A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London.[2][3]
In 2000, Pollock was the subject of the film Pollock, directed by and starring Ed Harris, which won an Academy Award.
This was the extent of the abstractions for this summer. This little one was based on a memory of a summer lake.....I didn't get a chance to visit that lake very often....listening to the buzz of a few motorboats off in the distance....how I coveted that perfect blue, and the imagined freedom of summer lake life.
Oil on canvas; 225.4 x 200 cm.
Gerhard Richter (born 9 February 1932) is a German visual artist and one of the pioneers of the New European Painting that emerged in the second half of the twentieth century. Richter has produced abstract as well as photorealistic paintings, and also photographs and glass pieces. His art follows the examples of Picasso and Jean Arp in undermining the concept of the artist's obligation to maintain a single cohesive style.
In October 2012, Richter's Abstraktes Bild set an auction record price for a painting by a living artist at £21 million ($34 million).[1] This was exceeded in May 2013 when his 1968 piece Domplatz, Mailand (Cathedral square, Milan) was sold for $37.1 million (£24.4 million) in New York.[2] This was further exceeded in February 2014 when his painting Abstraktes Bild sold for £30.4 million in London at Sotheby's Contemporary Evening Sale.[3]
Gouache, pastel, oil, and wax on paper; 36.3 x 31.4 cm.
Yayoi Kusama (草間 彌生 or 弥生 Kusama Yayoi?, born March 22, 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, sculpture, performance art and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition and pattern. A precursor of the pop art, minimalist and feminist art movements, Kusama influenced contemporaries such as Andy Warhol and Claes Oldenburg.[1] Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.
Born in Matsumoto, Nagano into an upper-middle-class family of seedling merchants,[2] Kusama started creating art at an early age, going on to study Nihonga painting in Kyoto in 1948. Frustrated with this distinctly Japanese style, she became interested in the European and American avant-garde, staging several solo exhibitions of her paintings in Matsumoto and Tokyo during the 1950s. In 1957 she moved to the United States, settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement. Switching to sculpture and installation as her primary mediums, Kusama became a fixture of the New York avant-garde, having her works exhibited alongside the likes of Andy Warhol, Claes Oldenburg and George Segal during the early 1960s, where she became associated with the pop art movement. Embracing the rise of the hippie counterculture of the late 1960s, Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots.
In 1973, Kusama moved back to her native Japan, where she found the art scene far more conservative than that in New York. Becoming an art dealer, her business folded after several years, and after experiencing psychiatric problems, in 1977 she voluntarily admitted herself to a hospital, where she has spent the rest of her life. From here, she continued to produce artworks in a variety of mediums, as well as launching a literary career by publishing several novels, a poetry collection and an autobiography.
Kusama's work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design. Major retrospectives of her work have been held at the Museum of Modern Art, the Whitney Museum, and Tate Modern, whilst in 2008 Christies New York sold a work by her for $5.1 million, then a record for a living female artist.
Kazimir Malevich was born near Kiev in the Russian Empire. His parents were ethnic Poles. It remains a mystery of 20th century art, how, while leading a comfortable career, during which he just followed all the latest trends in art, in 1915 Malevich suddenly came up with the idea of Suprematism. The fact that Malevich throughout all his life was signing and re-signing his works using earlier dates makes this u-turn in his artistic career even more ambiguous.
In 1915 he published his manifesto From Cubism to Suprematism. In 1915-1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916-1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk and A. Ekster. Famous examples of his Suprematist works include Black Square (1915) and White on White (1918).
Black Square, the fourth version of his magnum opus painted in the 1920s, sold at a state auction in Russia for the equivalent of one million dollars. The work was purchased by the Russian philanthropist, Vladimir Olegovich Potanin, who donated it to the State Hermitage Museum. On November 3, 2008 a work by Malevich entitled Suprematist Composition from 1916 set the world record for any Russian work of art and any work sold at auction for that year, selling at Sotheby’s in New York City for just over $60 million U.S. (far surpassing his previous record of $17 million set in 2000).
Critics derided Malevich for reaching art by negating everything good and pure: love of life and love of nature. The Westernizer artist and art historian Alexandre Benois was one such critic. Malevich responded that art can advance and develop for art's sake alone, regardless of its pleasure: art does not need us, and it never needed us since stars first shone in the sky. Malevich's work only recently reappeared in art exhibitions in Russia after a long absence. Since then art followers have labored to reintroduce the artist to Russian lovers of painting. A book of his theoretical works with an anthology of reminiscences and writings has been published. Many stains on his reputation in Russia remain, however.