We would like to thank Aleksandra Shatskikh for her assistancein the cataloguing of this lot.
Kazimir Malevich’s Landscape is an extremely rare and earlywork that dates from 1911, a breakthrough moment in the artist’scareer. One of a series of large, boldly coloured and ex-pressivelyrendered works from this pivotal moment of artistic discovery anddevelopment, Landscape is part of the artist’s Neo-Primitiveperiod, a short phase during which Malevich fused influences fromthe European avant-garde with the visual culture of his nativeRussia to create an aesthetic that was entirely unique. Amonumental work that stands at over a metre square, it is one ofthe largest works of Malevich’s early oeuvre, its commanding size areflection of its importance within these opening years of theartist’s career. Rendered on a square format – a feature that wouldbecome one of the defining features of his movement, Suprematism –in Landscape, Malevich has employed a purposefully raw, direct andimmediate means of pictorial construction, as he explored the actof painting itself. It is this abiding artistic interest in purepainting that would lead the artist, just four years later, to hisradical, abstract Suprematist works.
It was with Landscape and the rest of this breakthrough seriesof large scale Neo-Primitivist works that Malevich first gainedcritical recognition in Russia. Presented in a number of earlyexhibitions, many of which have come to define the early years ofthe Russian avant-garde, including the 1912 ‘Union of Youth’ in St.Petersburg, and, in the same year, the ‘Donkey’s Tail’ in Moscow,Landscape was, perhaps most importantly, one of the group of worksthat Malevich chose to take with him to Berlin in preparation forhis retrospective there in 1927. The show was enormously importantto Malevich. Travelling from Russia via Poland, where he alsostaged a small exhibition of his art, Malevich selected what heconsidered to be the greatest, defining works of his career to datewith which to present himself to a broader European audience. Thathe chose to include Landscape in this select group is testament tothe importance with which he regarded this pivotal early work.Since then, Landscape has been shown in a number of othersignificant retrospectives of the artist, including most recentlythe 2013-2014 retrospective held at the Tate Modern, London andStedelijk Museum, Amsterdam.
马列维奇 风景 Landscape 局部细节
At the time that Malevich executed Landscape, Moscow was ahotbed of artistic creativity and innovation. The latestavant-garde developments from France and Germany had been presentedto Russian audiences in three successive exhibitions organised by agroup known as ‘The Golden Fleece’. The first show in 1908 includedover 200 works by Western artists, mostly from Paris, featuring thelikes of Cézanne, Van Gogh, Gauguin, as well as Matisse, Derain andBraque. A year later, a second exhibition was staged, this timecombining Russian and Western works; and in 1910, the third andfinal showing of this type was held, featuring mainly Russianartists in a bold visual assertion of their own individuality andinnovation. Malevich, who had settled permanently in Moscow in1906, would likely have visited these exhibitions, among others,becoming exposed and immersed in the radical stylistic and formalinnovations of his European counterparts.
In addition to 'The Golden Fleece', two major modernistcollectors, Sergei Shchukin and Ivan Morozov, also played a vitalrole in disseminating the Parisian avant-garde to a Russianaudience. An industrialist, Shchukin made it his life’s purpose topresent the most innovative artistic developments of European artto his native Russia. Having started his collection withImpressionist works, his taste gravitated towards the mostcutting-edge art of his day as he amassed an astounding,unprecedented array of early Twentieth Century masterpieces byCézanne, Gauguin, Matisse, and later, Picasso. In 1908, he openedhis Moscow home, the Trubetskoy Palace, to the public. There,visitors found room after room filled with the greatest examples ofavant-garde painting; from Gauguin’s strange and beguiling Tahitianidylls, and Picasso’s angular proto-cubist figures, to Matisse’sexplosive Fauve landscapes, still-lifes, and, in 1911, hismonumental murals, La Danse and La Musique. Shchukin’s home andcollection soon became a haven for young Russian artists, playing acentral role in the development of the country’s contemporary artworld; ‘Who among Russian artists does not count in his past, as amoment of enlightenment and light from “nowhere”, Shchukin’sgallery? Everybody does’, the critic Nikolai Punin explained (N.Punin, quoted in K. Akinsha, ed., Russian Modernism: Cross-Currentsof German and Russian Art, 1907-1917, exh. cat., New York, 2015, p.34).
马列维奇 风景 Landscape 局部细节
Malevich’s art from this early period in his career shows arestless quest for artistic discovery, as he hurtled through thevarious styles and movements of the turn-of-the-centuryavant-garde, consuming Post-Impressionist, Symbolist, Fauvist, and,as the present work demonstrates, Primitivist ideas of colour andfacture. At the heart of Malevich’s voracious yet assuredconsumption of the styles of the avant-garde was his desire tocomprehend primarily their essential formal qualities,deconstructing and practicing variations in handling and technique.As Camilla Gray explains, ‘Malevich from the outset was notconcerned with nature or analysing his visual impressions, but withman and his relations to the cosmos’ (C. Gray, The RussianExperiment in Art, 1863-1922, London, 1986, p.145).
At the time that he painted Landscape, Malevich had becomeclose to Natalia Goncharova and Mikhail Larionov, artists who werecrucial to his own artistic development. Pioneering figures of theearly Russian avant-garde, these artists were determined to forge adistinct aesthetic from their European counterparts, vehementlyasserting that art should be based upon their own visual culture.Following the direction of European Primitivism – both theprimitive subject matter of Gauguin, as well as the radicalstylisation and simplification that non-western art had shownMatisse and Picasso – they sought inspiration from their nativecountry, using Russian Orthodox icon painting, folk art and murals,peasant woodcuts, known as ‘lubki’, textile patterns from Siberia,or scenes of urban or rural life as the basis for their radicalsubject matter and raw, ex-pressive artistictechnique.
In 1910, Malevich included two early works in the first of aseries of exhibitions conceived by Goncharova and Larionov, calledthe ‘Jack of Diamonds’, a name taken from a pack of cards, thatreflected Larionov’s interest in peasant life and folk art. Alandmark moment in the history of modern Russian art, thisexhibition, which included a combination of Russian and Europeanartists, from Jawlensky and Kandinsky, to Lhote and Gleizes, ‘shookseverely the aesthetic foundations and consequently the foundationof art in society and criticism’, Malevich recalled (Malevich,quoted in J. Milner, ‘Malevich: Becoming Russian’, in Malevich,exh. cat., London, 2014, p. 33). While Malevich’s work drew littleattention, his involvement in this exhibition was essential for hisartistic development, rousing in him an intense burst of creativitythat led to the creation of his Neo-Primitive works, includingLandscape.
马列维奇 风景 Landscape 局部细节
Soon after his involvement in this exhibition, towards the endof 1910 and the beginning of 1911, Malevich began a series oflarge, highly coloured and ex-pressively executed gouaches,portraying, like Goncharova, peasants within nature or at work, or,more rarely, the landscape itself, as demonstrated by the presentwork. Indeed, of this breakthrough Neo-Primitive series, Malevichexecuted only two landscapes – the present work, and one other,Village, which was in the collection of the Museum of Modern Art,New York, though was lost in 1939. With this series, Malevichadopted a deliberately primitive approach to picture making – bothin subject matter and style – as Landscape encapsulates. Havinggrown up in rural Ukraine and later, Russia, Malevich was familiarwith the scenes of peasant life that now filled his art. Theseimages remained with the artist for many years, appearing not onlyin his Neo-Primitive period, but his cubist works that followed.Indeed, he later recalled that it was from this rural childhood andyouth that, ‘the feeling for art and things artistic developed inme’ (Malevich, quoted in C. Douglas, Kazimir Malevich, New York,1994, p. 8). Malevich’s background had also exposed him to nativeart forms and visual traditions; as he later recalled, ‘I watchedwith great excitement how the peasants made wall paintings, andwould help them smear the floors of their huts with clay and makedesigns on the stove’ (Malevich, quoted in Malevich & A.Upchurch, ‘Chapters from the Artist’s Autobiography’, in October,vol. 34, Autumn 1985, p. 29). Later, he found great inspiration inRussian icon painting, admiring the spiritual aspects of theseworks as well as their boldly simplified, naïve imagery andexecution. In studying these traditional art forms, Malevichrealised that, ‘the point is not in the study of anatomy andperspective, not in depicting the truth of nature, but in sensingart and artistic reality through the emotions’ (Malevich, quoted inKazimir Malevich: The World as Objectless, exh. cat., Basel, 2014,p. 27). It was this innate understanding of art that would come toplay a defining role in his path towards Suprematism and pure,geometric abstraction. Never confined entirely to the practice ofWestern naturalism or mimesis, Malevich would become the first toenvisage, and later create, an art entirely freed of a recognisablesubject.
马列维奇 风景 Landscape 局部细节
However, unlike Goncharova and Larionov, who deliberatelyturned their backs on the movements, styles and influence of theEuropean avant-garde, Malevich was more open to the developmentsoccurring in the West; indeed, he actively utilised and exploredthem. In Landscape, the motif of houses tucked into the landscapeis instantly reminiscent of the work of Paul Cézanne. Malevich hasdepicted this scene with the same, distinctive, constructivebrushstroke of the great French landscape painter who had died justa few years earlier, in 1906. Indeed, John Milner described thiswork as Malevich’s ‘tribute to Cézanne’ (J. Milner, op. cit.,London, 2014, p. 35). Divided into patches of colour, which areclearly demarcated in some areas, such as the stylised treefoliage, the composition takes on a structure akin to Cézanne’sinfluential landscape paintings – his oft-quoted advice to, ‘treatnature in terms of the cylinder, the sphere and the cone’ becomesparticularly relevant when considering the present work. It wasthese landscapes, in which Cézanne shunned mimesis in order toattain the ‘sensation’ of nature itself, that would prove soinfluential to Braque and Picasso and their development of Cubismin the early 1900s. Indeed, following in this lineage, Landscape isalso undeniably related to the early proto-cubist landscapes ofBraque and Picasso, examples of which Malevich could have seen inShchukin’s home (see for example Braque’s Le Château de laRoche-Guyon, 1909 and Picasso’s Maisonette dans un jardin, 1908,both now in the Pushkin Museum, Moscow).
Yet, Landscape has clearly been rendered with an impressivespontaneity and rapidity that is at odds with the methodicallyconstructed cubist landscapes of Braque and Picasso. There is apowerful directness and rawness of ex-pression as the artistapplied patches of colour across the large sheet. This gesturalbrushwork is also the antithesis of Cézanne’s lengthy andmeticulous mode of pictorial construction, reminiscent instead ofthe explosive colour and the vigorous paint handling of Fauvism.Indeed, the dazzling pink and orange tones that Malevich has usedon both the houses and the setting sun behind the hills in thebackground of Landscape instantly evokes Matisse’s radiant Fauvelandscapes painted in Collioure in the summer of 1905, one of whichShchukin also had in his collection (Vue de Collioure, HermitageMuseum, St. Petersburg).
马列维奇 风景 Landscape 局部细节
In this way, Malevich combined the idiosyncratic, distinctivepictorial languages of both Cézanne and Matisse, and fused them tocreate a new, synthesised form of Russian landscape painting. Whileit would be easy to suggest that the landscape and village is ascene from his youth in Kiev, in fact, this was an imagined scene:the artist’s aim was not to record a real vision of the world, norderive a subjective interpretation from this, as Cézanne and thecubists did, but to immerse himself in pure painting itself (A.Shatskikh, Kazimir Malevich ‘Landscape’, n.d., p. 15). This isheightened by the square format that Malevich chose to present thislandscape scene. This is a constructed image, not a mirror ordepiction of nature, but a geometricized interpretation of theforms and volumes that constitute the landscape. Simplified andstylised, this work shows the artist exploring methods of pictorialconstruction, unpicking formal conventions of colour, perspective,volume and space. It was this overriding interest in therelationship of space, form and colour that would become essentialto Malevich’s art, as he continued to deconstruct the conventionsof representational art, before arriving, in 1913 at the origin ofwhat would become The Black Square and the birth ofSuprematism.
While Landscape encapsulates Malevich’s early artisticdevelopment, the exceptional exhibition history of this work alsodemonstrates the path that led the artist to become one of the mostinfluential artists of the 20th Century. Landscape was firstexhibited in 1911 at the First Moscow Salon. This was Malevich’sfirst major exhibition as an artist and included 24 early worksthat were divided into distinct groups: The Yellow, Red and Whiteseries. The Yellow and White groups contained his earlier,Symbolist works and the Red, his more recent, highly colouredNeo-Primitive works, including Landscape.
马列维奇 风景 Landscape 局部细节
A year later, from March to April, Malevich was included inLarionov’s seminal ‘Donkey’s Tail’ exhibition, held in Moscow. Amomentous exhibition in the history of the Russian avant-garde,this show also held great importance in Malevich’s own career,marking the moment that he became known in his own right as anindependent and important artist. Organised by Larionov, thisexhibition included his own work, as well as that of Goncharova,Chagall and Tatlin. Indeed, this was the first time that this groupof leading Russian contemporary artists had been shown together.Malevich included his most recent work, namely the whole group ofNeo-Primitivist works, including Landscape, that he had createdthroughout 1911. Seen together, the artist’s synthesis of the eastand the west into a distinct pictorial language was clear to see.Large, rapidly executed and boldly coloured gouaches and oilpaintings would have filled the walls, featuring monumental imagesof peasants rendered in a deliberately primitive style, asevidenced by the present work. This exhibition included works suchas Bather, The Gardener, On the Boulevard, and Floor Polishers,many of which are now housed in the Stedelijk Museum,Amsterdam.
From the time of this seminal, breakthrough show onwards,Landscape featured in the majority of Malevich’s most importantretrospectives, including, in 1920, his first one-man show inMoscow, the ‘16th State Exhibition, K.S. Malevich, His Way fromImpressionism to Suprematism’. With over 150 works hungchronologically, this exhibition mapped out the artist’sdevelopment from his very first forays into the art ofImpressionism, through to his triumphant, groundbreaking conceptionof Suprematism and the works of pure abstraction that he hadcreated.
马列维奇 风景 Landscape 局部细节
Seven years later, Malevich finally received permission totravel out of Russia. Since 1909 when he had first planned totravel to Paris, he had attempted several times to visit Europe,though had never been able to. At this point, the political regimein the Soviet Union had begun to suppress avant-garde and abstractart in favour of state-sanctioned Socialist Realism. As a keyexponent of this form of art, Malevich was a prime target for theregime. Seeking to free himself from this artistic oppression andestablish himself in Germany, Malevich managed to organise anexhibition of his work to be held in connection with the annualGrosse Berliner Kunstausstellung (Great Berlin Art Exhibition)which opened there in May. With the plan for this exhibition tolater travel to Paris, Vienna and Cologne, he took with him over100 of his paintings, drawings, theoretical diagrams and writings,carefully selecting the only the finest examples of his work withwhich he would finally introduce himself to a European audience.Landscape was one such work.
On his way to Berlin from Russia, Malevich stopped for a monthor so in Warsaw, and while there organised a small, impromptuexhibition at the Polish Arts Club in the Polonia Hotel. When hearrived in Berlin at the end of March, Malevich immersed himself inthe art world there, travelling to the Dessau Bauhaus, where he metWalter Gropius, as well as Kurt Schwitters, Jean Arp and Mies vander Rohe. With the opening of the exhibition, Malevich was hailedas a great hero, a pioneering leader of abstraction, or, in thewords of writer Ernst Kállai, ‘a second Moses, a Moses of art whowas said to have freed his disciples from the shackles of paintingand to have conducted them to the confines of a new artisticterritory filled with promise’ (E. Kállai, quoted in A. Nakov,Malevich: Painting the Absolute, vol. III, London, 2010, p. 218).Few records of the exhibition exist, however, it presented achronological view of Malevich’s work, with at least 70 paintings,drawings and architectural models that traced his development fromImpressionism, through his Neo-Primitive stage, to Cubism, Futurismand finally, Suprematism (see T. Andersen, Malevich, Catalogueraisonné of the Berlin exhibition, 1927, Amsterdam,1970).
马列维奇 风景 Landscape 局部细节
Malevich’s grand plans for this exhibition to travel and for anew life in Berlin were however, tragically halted when he wascalled back to Soviet Russia in June, shortly after the exhibitionhad opened. Malevich left the entire group of his works in thepossession of a group of artists and custodians in Germany,foreseeing that they would likely be confiscated by the Sovietregime if he had returned with them. In addition, he left hiswritings, as well as five works of art with the von Riesen family,who served as his hosts while he stayed in Berlin. One of thesefive was Landscape, which remained with Hans von Riesen until 1963.The rest of the works were hidden in Germany throughout much of the1930s, their existence known only by very few people. Ultimatelythe group would become part of the highly influential holdings ofMalevich’s work in the Museum of Modern Art, New York, and theStedelijk Museum in Amsterdam.
Malevich would never see these works again, believing at thetime of his death in 1935, that they had been lost. Due to thetotalitarian Nazi and Soviet regimes throughout the 1930s, both ofwhich forbade abstraction, Malevich’s art, as well as his name, waslargely overlooked and forgotten. In 1953, a Soviet journalistreported seeing the artist’s iconic White Square in an exhibitionin London, writing that the creator of this work was an ‘Americanabstractionist’ (quoted in A. Nakov, Malevich: Painting theAbsolute, vol. 4, London, 2010, p. 130), illustrating just howobscure Malevich and his revolutionary work had become. As aresult, it was the works that Malevich selected for the Berlinexhibition that came to define the artist’s reputation around theworld, serving as almost his sole creative legacy for much of theTwentieth Century.
我们要感谢Aleksandra Shatskikh协助编制这批拍品的目录。
卡齐米尔·马列维奇《风景》这是一部极为罕见的早期作品，可以追溯到1911年，这是艺术家职业生涯中的一个突破性时刻。在艺术发现和发展的关键时刻，一系列的大胆的、表现性的作品之一，《风景》是艺术家的新原始时期的一部分，在这个短暂的阶段，马列维奇将来自欧洲先锋派的影响与他的祖国俄罗斯的视觉文化融合在一起，创造出一种完全独特的美学。这是一件巨大的作品，面积超过一平方米，是马列维奇早期最大的作品之一。它的巨大程度反映了它在艺术家职业生涯的最初几年全部作品中的重要性。以正方形的形式呈现，这一特征将成为他的运动的决定性特征之一-超级主义。景物在探索绘画本身的过程中，马列维奇采用了一种有目的、直接的方法。正是这种对纯绘画的持久的艺术兴趣，使得这位艺术家，仅仅在四年后，就开始了他的激进的、抽象的、伟大的作品。
《风景》是马列维奇在俄罗斯首次获得批评的一系列大规模新原始主义作品中的其余部分。在一些早期的展览中展出，其中许多展览定义了俄罗斯先锋派的早期，包括1912年在圣彼得堡举行的“青年联盟”，以及同年在莫斯科举行的“驴子尾巴”，《风景》也许最重要的是，马列维奇选择带着他去柏林为1927年他的回顾展做准备的一组作品。这场演出对马列维奇非常重要。从俄罗斯经波兰旅行的马列维奇还在波兰举办了一次小型的艺术展览，他选择了他认为是迄今为止最伟大的作品，这是他职业生涯中最具决定性意义的作品，将向更广泛的欧洲观众展示自己。他选择包括景物在这个精选的小组中，证明了他对这一重要的早期工作的重视。从那以后，景物在许多其他重要的艺术家回顾中，包括最近在阿姆斯特丹的泰特现代博物馆、伦敦博物馆和斯特德利克博物馆举行的2013-2014年回顾展。
马列维奇 风景 Landscape 局部细节
在马列维奇去世前创作《风景》的时候，莫斯科是艺术创造和创新的温床。来自法国和德国的最新前卫发展已经在一个名为“黄金羊毛”的团体连续举办的三次展览中向俄罗斯观众展示。1908年的第一次展览包括200多位西方艺术家的作品，大部分来自巴黎，其中包括塞尚、梵高、高更、以及马蒂斯、德兰和布拉克等人。一年后，又举办了第二次展览，这一次是把俄罗斯和西方的作品结合起来；1910年，举行了第三次也是最后一次展览，以俄罗斯艺术家为主要对象，大胆地展示自己的个性和创新。马列维奇曾于1906年在莫斯科永久定居，他很可能会参观这些展览，并沉浸在欧洲同行的激进风格和正式创新中。
除了“金色羊毛”之外，两位主要的现代主义收藏家谢尔盖·什楚金和伊万·莫罗佐夫也在向俄罗斯观众传播巴黎前卫服饰方面发挥了重要作用。作为一名实业家，Shchukin使他的人生目标是向他的祖国俄罗斯展示欧洲艺术中最具创新性的艺术发展。从印象派作品开始他的收藏之后，他的品味被他那个时代最尖端的艺术所吸引，因为他收集了塞尚、高更、马蒂斯和后来的毕加索的一系列惊人的、前所未有的20世纪早期的杰作。1908年，他向公众开放了他在莫斯科的家-特鲁贝茨基宫。在那里，游客们发现了一间又一间的空间，里面充满了最伟大的前卫绘画的例子；从高更奇特而迷人的塔希提田园诗，到毕加索的棱角分明的原始立体派人物，到马蒂斯的爆炸性浮雕景观，静修，以及1911年他的不朽壁画，拉丹斯和拉穆西克。Shchukin的家和藏品很快就成了俄罗斯年轻艺术家的避风港，在俄罗斯当代艺术界的发展中扮演着中心角色；‘在俄罗斯艺术家中，谁不算他的过去，作为“无处之地”施楚金画廊的启蒙和光明时刻？评论家尼古拉·普宁解释说，“每个人都是这样”(N.Punin，引用于K.Akinsha，ed.，俄罗斯现代主义：德国和俄罗斯艺术的交叉潮流，1907-1917，“禁止酷刑公约”，纽约，2015年，p。34)。
马列维奇 风景 Landscape 局部细节
马列维奇职业生涯早期的艺术表现出对艺术发现的一种不安定的追求，他在世纪之交的前卫、消费后印象派、符号主义、福维斯特的各种风格和动作中奔走，正如《风景》所显示的，还有原始的色彩和制作思想。马列维奇对前卫风格的贪婪而有保证的消费的核心是他想首先理解他们的基本形式品质，解构和练习处理和技术上的变化。正如卡米拉·格雷(CamillaGray)所解释的那样，“马列维奇从一开始就不关心自然，也不关心他的视觉印象，而是关注人和他与宇宙的关系”(C.格雷，俄国艺术实验，1863-1922，伦敦，1986年，p.145)。
在画《风景》的时候，马列维奇与纳塔莉亚·冈查罗娃和米哈伊尔·拉里奥诺夫关系密切，这对他自己的艺术发展至关重要。这些艺术家是早期俄罗斯先锋派的先锋人物，他们决心打造一种不同于欧洲同行的独特美学，强烈主张艺术应以自己的视觉文化为基础。他们遵循欧洲原始的原始主题，以及非西方艺术向马蒂斯和毕加索展示的激进风格和简单化的方向，利用俄罗斯东正教的图标绘画、民间艺术和壁画、农民木刻(俗称“卢布基”)、西伯利亚的纺织图案，或城市或乡村生活场景作为城市或乡村生活的场景，寻求灵感。他们的激进题材和原始的，表现力的艺术技巧的基础。
1910年，马列维奇在冈恰洛娃和拉里奥诺夫策划的一系列展览中包括了两部早期作品，名为“钻石杰克”，这是一组卡片上的名字，反映了拉里奥诺夫对农民生活和民间艺术的兴趣。这次展览是现代俄罗斯艺术史上一个里程碑式的时刻，包括从Jawlensky和Kandinsky到Lhote和Gleizes等俄罗斯和欧洲艺术家的结合，“严重动摇了艺术在社会和批评中的审美基础，从而动摇了艺术的基础”，马列维奇回忆说(马列维奇在J.米尔纳的“马列维奇：变成俄罗斯人”中引用了马列维奇的话)。马列维奇，“禁止酷刑”，伦敦，2014年，p。33)。虽然马列维奇的作品很少引起人们的注意，但他参与这次展览对他的艺术发展至关重要，激发了他强烈的创造力，导致了他的新原始作品的创作，其中包括《风景》。
马列维奇 风景 Landscape 局部细节
马列维奇参与这次展览后不久，在1910年底和1911年年初，他开始了一系列大型的、色彩鲜艳的、表现力很强的胡言乱语，像贡查罗娃那样，在自然中或在工作中描绘农民，或者更少地描绘景观本身，就像目前的作品所显示的那样。事实上，在这个突破性的新原始系列中，马列维奇只创作了两幅风景-现在的作品，还有另一幅，在纽约现代艺术博物馆的收藏中，虽然在1939年丢失了。在这个系列中，马列维奇采用了一种刻意原始的方式来制作作品，无论是题材还是风格都是如此。马列维奇在乌克兰农村长大，后来又在俄罗斯长大，他熟悉农民生活的场景，现在这些场景充斥着他的艺术。这些图像留在艺术家多年，不仅出现在他的新原始时期，但他的立体派作品，随后。事实上，他后来回忆说，正是从这个农村的童年和青年时期，“艺术和艺术的感觉在我身上发展起来了”(Malevich，在C.Douglas中引用的话)，卡齐米尔·马列维奇，纽约，1994年，p.8)马列维奇的背景也使他接触到了当地的艺术形式和视觉传统；他后来回忆说，“我非常兴奋地看到农民们是如何制作壁画的，并帮助他们用黏土涂抹他们的茅屋地板，并在炉子上做设计”(Malevich&A.UpChurch，“艺术家自传的章节”，在马列维奇和A.厄普彻奇的引文中引用)十月，第二卷。34，1985年秋季，p.29)。后来，他在俄罗斯偶像绘画中发现了巨大的灵感，欣赏这些作品的内涵方面，以及它们大胆简化、天真的想象和执行。在研究这些传统艺术形式时，马列维奇意识到，“问题不在于解剖和透视，而在于描绘自然的真理，而在于通过情感感知艺术和艺术现实”(Malevich，引自“KazimirMalevich：无对象的世界，“禁止酷刑公约”，巴塞尔，2014年，p。27)。正是这种对艺术的与生俱来的理解，将在他走向超然主义和纯粹的几何抽象的道路上发挥决定性的作用。马列维奇从未完全局限于西方自然主义或模仿的实践，他将成为第一个设想并随后创造出一种完全摆脱了一个可识别的主题的艺术的人。
然而，与冈恰洛娃和拉里奥诺夫不一样的是，他们故意对欧洲先锋派的运动、风格和影响置之不理，马列维奇对西方的发展更加开放；事实上，他积极地利用和探索了这些发展。在景物，房子的主题镶嵌在景观中，立刻让人想起保罗·塞尚的作品。马列维奇用同样的，独特的，建设性的笔触描绘了这一场景，这位伟大的法国风景画家就在几年前于1906年去世。事实上，约翰·米尔纳把这项工作描述为马列维奇的“对塞尚的敬意”(J.米尔纳，前引书，伦敦，2014年，p.35)。这幅作品分为几块颜色，在一些区域，比如有风格的树叶上，它们被清晰地划分出来。这种构图的结构类似于塞尚颇具影响力的山水画-他经常引用他的建议：“以圆柱体、球体和锥来对待大自然”，在考虑目前的作品时，显得尤为重要。正是在这些景观中，塞尚为了获得自然本身的“感觉”而回避模仿，这对布拉克和毕加索及其在20世纪初的立体派发展产生了如此大的影响。实际上，在这个血统中，景物也无可否认地与布拉克和毕加索早期的原始立体派景观有关，马列维奇可以在Shchukin的家中看到这些例子(见Braque的例子)。LeCh teau de la Roche-Guian，1909年和毕加索的小酒庄1908年，都在莫斯科普希金博物馆。
马列维奇 风景 Landscape 局部细节
然而，《风景》很明显具有令人印象深刻的自发性和快速性，这与有条不紊地构建了布拉克和毕加索的立体派景观格格不入。有一个强有力的直接和粗糙的表现，艺术家应用补丁的颜色在大的纸张。这幅笔触也是塞尚漫长而细致的绘画创作模式的对立面，它让人联想到了浮华主义的爆炸性色彩和强烈的绘画手法。的确，马列维奇在房子和山后的落日背景下所使用的令人眼花缭乱的粉红色和橙色色调。《风景》立即让人联想起马蒂斯1905年夏天在Collioure描绘的光辉的Fauve风景画，Shchukin也收藏了其中一幅。Collioure，圣彼得堡Hermitage博物馆)。
通过这种方式，Malevich将塞尚和马蒂斯的独特、独特的绘画语言结合在一起，并将它们融合在一起，创造出一种新的、综合的俄罗斯山水画形式。虽然人们很容易认为这幅风景和村庄是他在基辅年轻时的一幕，但事实上，这是一个想象的场景：艺术家的目的不是记录一个真实的世界，也不是像塞尚和立体主义者那样，从这个场景中得到主观的解释，而是沉浸在纯粹的绘画中(A.Shatskikh)，KazimirMalevich‘景观’，N.D.，p.15)马列维奇选择的正方形形式展示了这一景观场景，这使这一点更加突出。这是一个构造的形象，不是一面镜子，也不是对自然的描绘，而是对构成景观的形式和体积的几何化解释。本作品简约化、风格化，展现了艺术家探索绘画建构的方法，解构色彩、透视、体积和空间的正式惯例。正是这种对空间、形式和色彩关系的压倒一切的兴趣，对马列维奇的艺术至关重要，因为他一直在解构具象艺术的传统，直到1913年，他到达了将成为黑广场和超级主义诞生的源头。
马列维奇 风景 Landscape 局部细节
《风景》概括了马列维奇早期的艺术发展，这部作品独特的展览历史也说明了这位艺术家成为20世纪最具影响力的艺术家之一的道路。《风景》于1911年首次在莫斯科第一家沙龙展出。这是马列维奇作为艺术家的第一次大型展览，其中包括24件早期作品，分为不同的组：黄、红、白系列。“黄与白”包括他早期的、象征主义的作品和红色的作品，以及他最近的高度着色的新原始作品，包括景物.
一年后，从3月到4月，马列维奇参加了拉里奥诺夫在莫斯科举行的具有开创性的“驴子尾巴”展览。在俄罗斯先锋派历史上的一次重大展览中，这场展览在马列维奇自己的职业生涯中也发挥了重要作用，标志着他作为一名独立而重要的艺术家而出名的那一刻。这次展览由Larionov组织，包括他自己的作品，以及Goncharova、Chagall和Tatlin的作品。事实上，这是这批俄罗斯当代著名艺术家第一次在一起表演。Malevich收录了他最近的一部作品，也就是新原始主义的全部作品，包括景物他在1911年创作的。综观这位艺术家将东西方综合成鲜明的绘画语言是显而易见的。大的，迅速执行的，大胆的彩色的胡桃和油画，会充满墙壁，呈现的是以原始的风格呈现的农民的不朽的形象，就像现在的作品所证明的那样。这个展览包括一些作品，例如巴瑟,大 园丁, 在林荫大道上，和地板磨光机，其中许多现在被安置在阿姆斯特丹的Stedeljk博物馆。
从这次开创性的突破性节目开始，景物马列维奇的大多数最重要的回顾，包括1920年他在莫斯科的第一次单人表演，“第16届国家展览，K.S.马列维奇，他从印象派到超级主义的道路”。这次展览按时间顺序展出了150多件作品，描绘了艺术家从第一次尝试印象派艺术到他成功的开创性的超然主义观念和他所创造的纯粹抽象的作品的发展过程。
马列维奇 风景 Landscape 局部细节
七年后，马列维奇终于获准离开俄罗斯。自1909年他第一次计划去巴黎以来，他曾多次尝试访问欧洲，尽管他从未去过。在这一点上，苏联的政治政权已经开始压制先锋派和抽象的艺术，支持国家认可的社会主义现实主义。作为这种艺术形式的主要倡导者，马列维奇是这个政权的主要目标。为了摆脱这种艺术压迫，并在德国站稳脚跟，马列维奇设法组织了一次与一年一度的展览相关的展览。格罗斯·柏林·昆斯托斯泰隆(伟大的柏林艺术展)五月在那里开幕。这次展览的计划是以后去巴黎、维也纳和科隆，他带着100多幅画、理论图和作品，仔细挑选了他的作品中唯一最好的例子，最后向欧洲观众介绍了自己。景物就是这样的工作。
在从俄罗斯前往柏林的途中，马列维奇在华沙停留了一个月左右，并在波洛尼亚酒店的波兰艺术俱乐部组织了一个小型的即兴展览。当他于3月底抵达柏林时，马列维奇沉浸在那里的艺术世界中，前往德索·鲍豪斯，在那里他遇见了沃尔特·格罗皮乌斯，以及库尔特·施维特、让·阿尔普和米斯·范德罗赫。展览开幕后，马列维奇被誉为伟大的英雄，抽象的先锋领袖，或者用作家恩斯特·卡莱的话来说，是“第二位摩西，一位艺术的摩西，据说他把他的门徒从绘画的枷锁中解放出来，带领他们进入一个充满希望的新的艺术领域”(E.Kállai，引用在A.Nakov中的话)。马列维奇：绘画的绝对，第二卷。第三期，伦敦，2010年，p.218)。这次展览几乎没有记录，但它展示了马列维奇作品的年表，至少有70幅绘画、绘画和建筑模型，这些都是他从印象派到他的新原始阶段，到立体派、未来派，最后是苏普拉主义(见T.Andersen)的发展过程。Malevich，“柏林展览的目录存在”，1927年，阿姆斯特丹，1970年)。
马列维奇 风景 Landscape 局部细节
然而，马列维奇关于这次展览旅行和柏林新生活的宏伟计划，在展览开幕后不久，在6月被召回苏联时，不幸地被叫停了。马列维奇把他所有的作品留给了德国的一群艺术家和保管人，预见到如果他和他们一起回来，他们很可能会被苏联政权没收。此外，他还留下了他的作品和五件艺术品给冯·里森家族，后者在柏林期间担任东道主。这五个中的一个是景物直到1963年，他们一直和汉斯·冯·里森在一起。其余的作品在整个20世纪30年代的大部分时间都隐藏在德国，只有极少数人知道它们的存在。最终，该组织将成为马列维奇在纽约现代艺术博物馆和阿姆斯特丹斯特德雷耶克博物馆的极具影响力的藏品的一部分。
马列维奇再也不会看到这些作品了，他相信在1935年他去世的时候，这些作品已经丢失了。由于整个20世纪30年代的极权主义纳粹和苏联政权都禁止抽象，马列维奇的艺术以及他的名字在很大程度上被忽视和遗忘。1953年，一位苏联记者报道，他在伦敦的一次展览中看到了这位艺术家标志性的白色广场，他写道，这幅作品的创作者是一位“美国抽象家”(A.Nakov引用)，马列维奇：绘画的绝对，第二卷。4，伦敦，2010年，p.130)，说明马列维奇和他的革命作品变得多么晦涩。因此，正是马列维奇为柏林展览挑选的作品决定了这位艺术家在世界各地的声誉，几乎是他在二十世纪大部分时间里唯一的创作遗产。
Moscow, First Moscow Salon, February - March 1911, no.14.
St Petersburg, The Union of Youth, January - February 1912,no. 4.
Moscow, Myasnitskaya School of Painting, Sculpture andArchitecture, Donkey's Tail, March - April 1912, no. 7.
Moscow, 16th State Exhibition, K.S. Malevich, His Way fromImpressionism to Suprematism, March 1920 (nocatalogue).
(Possibly) Warsaw, Hotel Polonia, Malevich, March 1927.
Berlin, Lehrter Bahnhof, Sonderausstellung Malewitsch, GrosseBerliner Kunstausstellung, May - September 1927.
Bern, Kunsthalle, Kasimir Malewitsch, 1878-1935: KleinereWerkgruppen von Pougny, Lissitzky und Mansourov, aus den Jahren desSuprematismus, February - March 1959, no. 1a, n.p. (dated 'circa1905-1906').
Leverkusen, Städtisches Museum, Kasimir Malewitsch, March -April 1962, no. 40, n.p..
London, Marlborough Fine Art, 19th and 20th CenturyWatercolours, Drawings and Sculpture, April 1964, no. 62, p. 14(illustrated on the cover; titled 'Houses in a Landscape' and dated'circa 1905-1906').
Cologne, Museum Ludwig, Kasimir Malewitsch, Werk und Wirkung,November 1995 - January 1996, no. 38, p. 222 (illustrated p. 104;titled 'Landschaft mit roten Häusern (Die rotenHäuser)').
Amsterdam, Stedelijk Museum, Kazimir Malevich and the RussianAvant-Garde: Featuring Selections from the Khardzhiev and CostakisCollections, October 2013 - February 2014, p. 31 (illustrated;titled 'Landscape with Three Red Houses'); this exhibition latertravelled to Bonn, Bundeskunsthalle, March - June 2014; and London,Tate Modern, Malevich, July - October 2014, p. 236 (illustratedfig. 7, p. 35).
H. von Riesen, Kasimir Malewitsch: Suprematismus - Diegegenstandslose Welt, Cologne, 1962, no. 5, n.p. (illustrated n.p.;dated '1905-1906').
Öffentliche Kunstsammlung Basel, Kunstmuseum, Museum fürGegenwartskunst, Jahresberichte 1964-1966, Basel, 1966, pp. 21& 28 (titled 'Landschaft mit rotenHäusern').
T. Anderson, Malevich, Amsterdam, 1970, no. 5, p. 81(illustrated p. 57).
J.-C. Marcadé, ed., Malevich, 1878-1978, Lausanne, 1979, no.42, n.p. (illustrated; titled 'Paysage aux maisonsrouges').
J.-C. Marcadé, Malévitch, Paris, 1990, no. 66, p. 53(illustrated; titled 'Paysage aux maisonsrouges').
Exh. cat., Kazimir Malevich, 1878-1935, Washington, 1990, p.27 (illustrated fig. 62, p. 28; titled'Village').
S. Fauchereau, Malewitsch, Recklinghausen, 1993, no. 9, n.p.(illustrated; titled 'Landschaft mit roten Häusern').
A. Nakov, Kazimir Malewicz, Catalogue Raisonné, Paris, 2002,no. F-221, p. 103 (illustrated; titled 'Paysage avec trois maisonsrouges').
A. Turowski, Malewicz w Warszawie: rekonstrukcje i symulacje,Krakow, 2004, no. 5, n.p. (illustrated n.p.).
A. Nakov, Kazimir Malewicz - le peintre absolu, vol. I, Paris,2006, pp. 127 & 130 (illustrated p. 127; titled 'Paysage avectrois maisons rouges').
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