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CULTURE & HERITAGE - Culture & History



By Gilberte Jacaret

« From Chagall to Malevitch : The Revolution of the Avant-Garde. »


(From July 12 to September 6, 2015, at the Grimaldi Forum in Monaco)

Chagall a Malevitch 1

Altman, Baranov-Rossiné, Bourliouk, Chagall, Chevtchenko, Dymchits-Tolstaïa, Ender, Exter, Filonov, Gabo, Gavris, Gontcharova, Kandinsky, Klioune, Klucis, Koudriachov, Larionov, Lébédev, Lentoulov, Lissitzky, Machkov, Malevitch, Mansourov, Matiouchine, Médounetski, Mienkov, Morgounov, Oudaltsova, Pevsner, Popova, Pougny, Rodtchenko, Rozanova, Souïetine, Stenberg, Stépanova, Sterenberg, Strzeminski, Tatline, Tchachnik, Yakoulov...

Here over 200 paintings, drawings and documentary items from leading Russian and European museums bear witness to the power and originality of the movements- among them Neo-Primitivism, Rayonism, Cubo-Futurism, Suprematism, Constructivism and the Matyushin Folonov schools- that gave rise to the Russian Avant-Garde and a revolutionary, specifically Russian artistic language spanning the period from 1905 to the late 1920s. The masterpieces making up this historical panorama speak eloquently of radical change in a country in search of a new identity. A country where dreams and utopias combined to forge a language unique in the art of the 20th century.




Chagall a Malevitch 2

After his appointment as director of the Fine Arts School in his home town of Vitebsk in 1919, Chagall found himself confronted with the radical ideas of Malevitch, whom he had hired as a teacher.

In 1920 he left his post and at the request of director Alexei Granovsky, he painted the interior of the newly established Jewish Art Theatre in Moscow in 1921. He found this commission an intensely pleasurable experience: it fulfilled one of his greatest desires, for he was fascinated by the theatre and had worked for it in various capacities for years. He felt close ties to directors and actors and to a multifaceted world of play whose language of freedom reminded him so much of his own.

This infinite love of the theatre and music, dance and literature found its natural place in the big Moscow wall panels, whose individual titles included Introduction to the theatre, Music, Dance, Theatre and Literature. The work as a whole was an artistic manifesto in which he laid out subtle references and teasingly familiar details reflecting both everyday life and their creator's own imagination; even in the chaotic climate of the Revolution Chagall would remain true to his culture, leaving his subjects open to singular, fascinating interpretations.