Ivan Puni Russian Suprematist Gouache
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Description
Gouache on paper, framed. Featuring an abstract expressionist composition. Signed Ivan Puni in Russian on the lower right corner. Attributed to Ivan Puni (1892-1956, Russian). 27 x 20.5 cm (10.6 x 8.1 inches). PROVENANCE: Southern Ontario estate
Ivan Puni (1892-1956) received his formal training in Paris in 1910-11 at the Academie Julien and other schools, where he painted in a derivative fauviste style. Upon his return to Russia in 1912, he met, and exhibited with, members of the St Petersburg avant-garde, including Kazimir Malevich and Vladimir Tatlin. He made a second trip to Paris in 1914, returning to St. Petersburg in 1915. At this point, he began painting in a Cubist style reminiscent of Juan Gris. In 1915, Puni, (Aleksandra Ekster, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nina Genke and others) formed Supremus, a group of artists dedicated to the promulgation of Suprematism, the abstract art movement founded by Malevich. Malevich and Puni co-authored the Suprematist Manifesto, published in 1916, which proclaimed a new, abstract art for a new historical era. Puni also organized the exhibitions Tramway 5 and 0.10, both held in St Petersburg in 1915, in which Malevich, Tatlin, Popova and others participated, and to which Puni contributed constructions and paintings. In 1915-1916 Puni, together with other Suprematist artists, worked at Verbovka Village Folk Centre. In 1919, he taught at the Vitebsk Art School under Marc Chagall.
Ivan Puni (1892-1956) received his formal training in Paris in 1910-11 at the Academie Julien and other schools, where he painted in a derivative fauviste style. Upon his return to Russia in 1912, he met, and exhibited with, members of the St Petersburg avant-garde, including Kazimir Malevich and Vladimir Tatlin. He made a second trip to Paris in 1914, returning to St. Petersburg in 1915. At this point, he began painting in a Cubist style reminiscent of Juan Gris. In 1915, Puni, (Aleksandra Ekster, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nina Genke and others) formed Supremus, a group of artists dedicated to the promulgation of Suprematism, the abstract art movement founded by Malevich. Malevich and Puni co-authored the Suprematist Manifesto, published in 1916, which proclaimed a new, abstract art for a new historical era. Puni also organized the exhibitions Tramway 5 and 0.10, both held in St Petersburg in 1915, in which Malevich, Tatlin, Popova and others participated, and to which Puni contributed constructions and paintings. In 1915-1916 Puni, together with other Suprematist artists, worked at Verbovka Village Folk Centre. In 1919, he taught at the Vitebsk Art School under Marc Chagall.
Condition
All lots that do not carry established documented provenance nor any past record of auction history record are described in the catalog as attributed .
All authorship of items in this catalog are described according to the following terms:
Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.
By [Artist Name] : The work is by the artist.
Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.
In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.
After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.
Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.
Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).
American, 19th century : This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).
All authorship of items in this catalog are described according to the following terms:
Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.
By [Artist Name] : The work is by the artist.
Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.
In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.
After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.
Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.
Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).
American, 19th century : This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).
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Ivan Puni Russian Suprematist Gouache
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