Klyun, Ivan Vasilievich

Born in the family of a carpenter in the village of Bolshoi Gorki in the Vladimir province. In 1881, he moved to Kiev with his whole family. In 1890 he moved to the Polish Principality , which was part of Russia .

He received his initial art education in Warsaw and Kiev (while serving as an accountant) in the 1890s .

In 1898 he moved to Moscow . In the early 1900s he attended Moscow private studios: F. I. Rerberg , V. Fisher, I. I. Mashkov .

The most important moment of his biography was a meeting in 1907 with K. S. Malevich , who had a tremendous influence on the further development of the artist, introduced him to the artistic circles of the Russian avant-garde. This, however, did not prevent Klyun from becoming a member of the Moscow Salon society in 1910 (he left the company in 1916 ), whose main task was to organize exhibitions.

In the 1900s, like Malevich, he worked in the tradition of symbolism and modernism (undoubtedly the influence of M. A. Vrubel , V. E. Borisov-Musatov , N. D. Milioti ). In 1913, he became close (through Malevich) with the St. Petersburg avant-garde represented by the members of the “Youth Union”, participating in their last exhibition (1913/1914). Like Malevich, at that time Klyun was fond of cubo-futurism , painting and sculpture (the latter, probably, under the influence of V.E. Tatlin ), showing his works at all avant-garde exhibitions.

In 1915 he took part in the creation of the booklet A. E. Kruchenykh “Secret vices of academics” ( M. , 1916): he owns the lithograph and the article “Primitive in the 20th Century”. Directed against symbolism and decadence, this book was Klun’s last tribute to futurism . In 1915, already as a follower of Malevich suprematism, he took part in the "Last Futuristic Exhibition of Paintings 0.10" , publishing his manifesto in her catalog. From this period begins the period of pointless creativity. In 1916 , Klyun joined the Supremus group led by Malevich, taking part in the preparation of an unpublished magazine of the same name. Together with other suprematist artists, he collaborated with artisanal artels in the villages of Verbovka and Skoptsy . This period of his work is one of the brightest in his life.

1918 - 1921 - professor of the State Agricultural Art Museum-Vhutemasa, since 1920 - a member of Inhuk (Institute of Artistic Culture), and since 1921 - a corresponding member of the State Academy of Artists.

Until the mid -1920s , a period of pointless creativity continues - Klun creates color designs from geometric shapes. In the second half of the 1920s, a fascination with French art begins - he copies from the magazines the works of P. Picasso , J. Braque , H. Gris . A. Ozanfan is especially attracted to him: until the mid -1930s he creates still lifes in the spirit of purism .

Member of OST (since 1925 ), "4 Arts" (1925-1927) and ORS (since 1927 ).

In the early 30s, like most Soviet artists, he was forced to switch to traditionally figurative painting, which, however, did not bring him much success.

Since the late 1930s, Klyun unexpectedly for many began to paint still lifes and landscapes of a realistic nature, generously giving them to friends.

Before us, sculpture was a means of reproducing objects. There was no sculptural art, but the art of sculpture. Only we fully realized the principle: Art as an end in itself. Mikel Angelo sculpted the beautiful David from marble. But purely in a sculptural sense, this work is insignificant. It has the beauty of a young man, but there is absolutely no beauty of sculpture. Our sculpture is a pure art, free from any surrogates, there is no content in it, but only form.

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  Suprematist drawing. 1920s

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  Cityscape

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  Portrait

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  Fairy tale

• Shishanov V.A. Vitebsk Museum of Modern Art creation and collection history. 1918-1941. - Minsk: Medisont, 2007 .-- 144 p.
• Azizyan I. A. K. Malevich and I. Klyun: from futurism to Suprematism and pointless creativity // "0.10". Scientific and analytical newsletter of the KS Malevich Foundation. 2001. No2.
• Unknown Russian avant-garde. Compiled by A. D. Sarabyanov . M., 1992.

• Klyun Ivan Vasilievich. Biography and works of the artist on Artonline.ru