Portfolio Naples October 2018 - Page 70

In "๎“e People's Art School," the evo- lution of the school, which opened in January 1919, will be traced with works by several of the key teachers and stu- to teach in the School's printing, graphic art, and architecture studios at the start of the 1919 academic year, followed by the arrival of Kazimir Malevich. With El Lissitzky, Had Gadya Suite: Cover, 1919, lithograph on paper. The Jewish Museum, Gift of Leonard E. and Phyllis S. Greenberg, 1986-121a ple geometric forms painted in a limited range of colors. ๎“is art of pure form moved beyond the physical world, pos- sessing a spiritual dimension. Malevich El Lissitzky, Had Gadya Suite: Father Bought a Kid for Two Zuzim, 1919, lithograph on paper. The Jewish Museum, Gift of Leonard E. and Phyllis S. Greenberg, 1986-121c dents. Keen to provide a high devised a teaching program level of instruction in all styles, that progressively led students Chagall approached a diverse from Cubism, Futurism, and range of artists to join the fac- Cubo-Futurism, to Suprema- ulty. ๎“e institution initially tism's detachment from the had 120 youths enrolled, object. Highlights on view will mainly Jewish boys from work- include rarely-seen paintings by ing-class families. Suprematism Malevich, who was at this time arrived along with its founder, moving away from painting Kazimir Malevich, in Novem- and focusing on theoretical ber 1919. His ideology, which writings, and several of El Lis- proposed an art of pure geo- sitzky's Proun paintings and metric form, quickly gained drawings. Also included will be traction among the School's Lissitzky's series of ten litho- students. While these abstract graphs (1923) featuring the fig- artists defended collective urines he first envisioned in work, Chagall defied the sys- Vitebsk for a staging of the tem of objectless art promoted opera Victory Over the Sun by Malevich and his pupils by (originally performed with live making mischievous and wry actors in 1913). Never realized, use of its formal vocabulary Lissitzky's idea of replacing ac- such as in Cubist Landscape tors with figurines or puppets El Lissitzky, Had Gadya Suite: The Fire Came and Burnt the Stick, 1919, lithograph on (1919). paper. The Jewish Museum, Gift of Leonard E. and Phyllis S. Greenberg, 1986-121g operated by an electromechan- '๎“e New Art': Lissitzky and ical system underscored the Malevich" focuses on the ramifications Suprematism, Malevich advocated opera's Futuristic character. of Chagall inviting his friend El Lissitzky highly distilled abstraction based on sim- "Collective Utopia" will explore the 68 PORTFOLIO MAGAZINE