David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

29 May 2017


The images and text below are from Sotheby's online catalog
(16 May 2017).

Kazimir Malevich
1879 - 1935
Oil on canvas
21 by 20 7/8 in.
53.3 by 53 cm
Painted in 1915.


12,000,000 - 18,000,000

LOT SOLD. 21,162,500 USD


Nikolai Khardzhiev, Moscow & Amsterdam (probably acquired from the artist in the 1930s)

Galerie Gmurzynska, Zurich (acquired from the above in 1994)

Acquired from the above by the present owner


(probably) Petrograd, Galerie Dobycina, 0.10: The Last Futurist Exhibition of Paintings, 1915-16

Moscow, Salles de B. Dmitrovka 11, K. S. Malevich. His Path from Impressionism to Suprematism, 1920

Berlin, Deutsche Guggenheim; New York, Solomon R. Guggenheim Museum & Houston, The Menil Collection, Kazimir Malevich: Suprematism, 2003-04, illustrated in color in the catalogue

London, Tate Modern, Malevich, 2014, no. 90, illustrated in color in the catalogue

Basel, Galerie Beyeler, In Search of 0.10: The Last Futurist Exhibition of Painting, 2015-16, illustrated in color in the catalogue.


Kazimir Malevich 1878-1935 (exhibition catalogue), Russian Museum, St. Petersburg; Tretyakov State Gallery, Moscow & Stedelijk Museum, Amsterdam, 1988-89, no. 21-22, illustrated in a photograph n.p.

John Milner, ed., Kazimir Malevich and the Art of Geometry, New Haven & London, 1996, illustrated in a photograph p. 135

Andréi Nakov, Kazimir Malewicz. Catalogue raisonné, Paris, 2002, no. S-159, illustrated p. 215

Evgenia Petrova & John E. Bowlt, eds., A Legacy Regained: Nikolai Khardzhiev and the Russian Avant-Garde, St. Petersburg, 2002, illustrated p. 270

Malevich and Film (exhibition catalogue), Fundação Central Cultural de Belém, Lisbon & Fundación La Caixa, Madrid, 2002-03, illustrated in a photograph p. 15 

Andréi Nakov, Malevich. Painting the Absolute, Farnham, 2010, vol. II, illustrated in color p. 165


Kazimir Malevich, 
Suprematist Composition with Plane in Projection 
By Aleksandra Shatskikh

At the famous 0.10: Last Futurist Exhibition of Paintings in Petrograd in December 1915, Kazimir Malevich exhibited 39 paintings, marking the emergence of innovative Russian painting into the world of international avant-garde art. Malevich created a new terminological definition for his canvases, the suprematism of painting, which was soon shortened to one word: “Suprematism.” In Malevich’s opinion, these suprematist works showed the absolute power and domination, or the supremacy, of color in painting. Their subjects were devoid of any resemblance to objects or phenomena that were present in the real world.  Indeed, another definition favored by Malevich was “безпредметное искусство,” or “subject-less” art, which is normally translated into English as “abstract art.”

full text here

Aleksandra Shatskikh, PhD is an art historian. Her book Black Square: Malevich and the Origin of Suprematism was published in 2012



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