Numbers in italics indicate figures. Abarbanel, in group portrait, 142 ...

Index
Numbers in italics indicate figures.
Abarbanel, in group portrait, 142, 143
Abbiate, L., 278
Aduev, N. A., 262
aero, 158, 195
AERO: Articles and Projects (Khidekel and
Chashnik), 215
agitprop, 34, 63, 261–64
Ahola-Valjo, Aleksanteri, 238–40
Aizman, D. Y., 14
Akhron, I., 265
Alekseevskaya, Nina Arkadievna, 301
All-Accessible Traveling Theater, 251
All-Russia Conference of Art Students and
Teachers, 119, 140, 141–43, 148–53
Alma, Peter, 218
Altman, N. I., 39, 70, 226
Amsky, I., 301
Anarkhiia (Anarchy), Malevich publishing in,
124
Anderson, Maria Karlovna Vasilieva-, 281
Annenkov, Yu. P., 39
An-sky, S. A., 3, 11, 14, 244, 245
Antoshenko-Olenev, Valentin, 46
Antsev, M. V., 268
architectonics of responsibility, 305–6
architectons (arkhitektons),64,153,164,172,
312
Argo (A. M. Goldenberg), 262
Arkhangelsky, V. M., 286
Arkhipenko, work of, selected for Vitebsk
museum, 226
Arkin, D. A., 148
Aronson, G. Ya., 285, 297
Art of Marc Chagall, The (Efros and Tugendkhold),
45
Arvatov, Boris, 204
Ash Wednesday (Kleberg), 315
Auer, L. S., 279
avant-garde art, hoped-for relation of, to
workers, 84
Averintsev, S. S., 307
Averka, Stefan, 6
Azarkh-Granovskaya, A. V., 265
Azarkh-Granovsky, A. M., 232
Bai, E. S., 275, 278
Baitin, Iosif A., 23, 38, 51, 52, 90,110,180;in
group portrait, 142, 143; sculpture of, 50
381

Bakaleinikov, V. R., 274
Bakhtin, Mikhail M., 6, 84, 259, 274, 279,
288–89, 290, 291, 292; ‘‘Art and Responsibility,’’
304–5; authorship of books attributed
to other authors, 307; creation of
the ‘‘first philosophy,’’ 305–6; dislike for
Vitebsk, 306–7; first lecture of, at Vitebsk
Pedagogical Library, 303–4; indifference
of, 306; influences on thought of, 292–
93; Medved’na bul’vare (The Bear on the
Boulevard), 297; meeting Chagall, 310;
move to Nevel, 303; philosophical seminar
at Vitebsk Institute of People’s Education
(Ino), 309; preference for spoken word
over writing, 306; Problems in Dostoevsky’s
Art, 304; relationship with Malevich, 310–
15; relationship with Pumpiansky, 297–99;
relationship with Voloshinov, 300–301; as
symphonic person, 308; Vitebsk years,
303–15
Bakhtin, Nikolai, 298, 310
Bakhtin circle, 288, 308; emergence of Dostoevsky
theme in, 309–10
Bakhtin studies, accursed question of, 307–9
Bakst, L. S., 20
ballet, 280–81
Balmont, Konstantin, 301
Bauhaus, 137, 190
B. Borokhov Club (Vitebsk), 69
Bedny, Demian, 62
Beekman, Chris, 218–20
Beinarovich, T. T., 224
Belling, Erast (Erikh) Evstafievich, 276–77,
280, 300
Belling, Sandra (Aleksandra Aleksandrovna),
272, 276–77
Belostotskaya, Fanya, 90, 131, 142, 143
Bely, Andrei, 301
Berberova, Nina, 297
Bernard, Joseph, 170
Bernstein, Osip, 52, 90, 102; involved with
Unovis educational activities, 113; as Unovis
office manager, 109
Bertels, B. A., 261
Beskin, Isaak R., 49, 50, 52, 90, 234, 238, 239;
called to study in Moscow, 232; in group
portrait, 142, 143
382 Index
Beskin, L., 240
Bessmertny, A. L., 268, 274, 278
Bialynitsky-Birulia, V., 269
Black Square, 111–12, 123, 127; emblem for
Suprematist form, 77, 143; as face of new
art, 97
Blok, Aleksandr, 269, 280, 287, 301
Blue Blouse Theaters, 264
Bocharov, S. G., 307
Bogrov, G. I., 14
Boguslavskaya, Ksenia (Ksana) L., 27, 32,
33–34, 35–37
book design and production: Constructivist
technique, 76–77; Lissitzky’s interest in,
64–65
Borisov, Alexander, 107
Braude, S. O., 275, 279
Brazer, Abram Markovich, 23, 25, 70, 226,
239, 246, 265; Head of a Jewish Boy, 247;
Portrait of D. A. Yakerson, 247; Portrait
of Yu. M. Pen, 246; work of, selected for
Vitebsk museum, 226, 227
Brik, Lili, 38
Brik, Osip M., 148, 204
Bryusov, Valery, 301
Buber, Martin, 308–9
Bunin, I. A., 3
Burliuk, David, 32–33; work of, selected for
Vitebsk museum, 226
Burliuk, Vladimir, 32–33
butcher shop signboard, 41
Chaadaeva, A. P., 262
Chagall, Bella, 266
Chagall, Marc, 18, 32, 42, 47, 53, 90; Above
Vitebsk, 146; accompanying Pen for plein
air drawing, 17; Arts Commissar of October
Revolution, 22; Blue House, The, 17; chairman
of Vitebsk Board of Art and Artistic
Production, 34; comments on Ermolaeva,
40; concerned with plastic embodiment
of artistic ideas, 58–59; creator of Vitebsk
People’s Art School, 27; Cubist Landscape,
28; cycle of etchings based on Gogol’s Dead
Souls, 6; decorating Vitebsk, 22–26; desire
of, to establish art museum in Vitebsk, 225–
26; director of People’s Art School and
head of Narkompros fine arts program,
39–40; Documents, 21–22; Documents of
Vitebsk, 13; Fire in Vitebsk, The, 5; first mention
of Unovis Miscellany No. 1, 120; first
one-man show, 20–21; free studio of, 45–
46; Frescoes for the Jewish Theater, 266;
friendship with Romm, 41–42; Greetings
to Lunacharsky, 24; Horseman, The, 24;
inheriting Pen’s legacy, 11, 13; Introduction
to the Jewish Theater, 266; inviting
new dramatic talent to Vitebsk, 253–54;
involvement in 1920 May Day celebrations
in Vitebsk, 117; involvement with Perets Society,
244; joining the Masons, 297; leaving
Vitebsk, 145–47; letter to Pen, 241–42, 243;
Man Standing on His Hands, 56; meeting
Bakhtin, 310; in Moscow at time of first
public exhibition at Vitebsk, 72; Music,
267; My Life, 140, 222, 266; offering Puni
and Boguslavskaya positions at People’s
Art School, 34; Onward, Onward without
End, Peace to Huts—War on Palaces, 24;
Painter at His Studio, The, 45; at People’s
Art School’s first exhibition, 52; portrait
of Pen, 10, 11; poster-panels for Vitebsk
decoration, 23–24; Promenade, 24, 25, 36;
relationship with fires, 4; return to Vitebsk,
20–22; Romm’s opposition to, at People’s
Art School, 54–55; on the social position of
art, 25; Street in Vitebsk, A, 22; students of,
response to Unovis, 145–46; teaching activities
of, 44–51; as Terevsat artist, 263–64;
View from the Window, 14; Vitebsk students
of, 46–52; work of, selected for Vitebsk
museum, 226, 227; written certificate
for Yakerson, for decorating Vitebsk, 23,
24–25
Chagallian spirit, 59
Chaikov, Iosif, 58
Chapiro, Jacques, 41
Chashnik, Ilya G., 47, 52, 67, 112, 138, 158,
188, 224; AERO: Articles and Projects,
215; concern with ‘‘cosmic feeling,’’ 195;
Construction Plan for the Vitebsk Artistic-
Technical Studios, 111, 191; death of, 135–36;
Floating Suprematist Forms, 195; in group
portrait, 142, 143; at INKhUK (December

1921), 203; innovator’s rostrum, 159; paintings
of, 143–44; Red Square (Unovis), 197;
Seventh Dimension, The, 209; Suprematism,
212; Suprematist Composition, 212; as
Unovis Creative Committee member, 109;
using Malevich illustration in collage, 193;
using one of Chervinka’s images, 134; White
Monochrome Relief, 223
chastushka, 62
Cherepnin, N. N., 269
Chervinka, Ivan Ivanovich, 52, 134–35, 138,
188, 213, 224, 239; Poster for the Central
Cooperative Alliance, 134–35; poster with
slogan, 139; Printed Cloth, 134, 139; as
Unovis Creative Committee member, 109
Children’s Theater, 258, 260
Chistyakov, P. P., 7
choreography studio, 281
cinematography, Suprematism applied to,
193–94
City of the Sun (Campanella), 169
City Theater, 81–84, 251, 252, 253–54
clay modeling, used in People’s Art School
sculpture studio, 183
Cohen, Hermann, 293
collective creation, 33
collective creativity, 129, 137, 200–201
collective theatre, 93
Commission of Three, 49
Communal Studio (Vitebsk), 23, 81
communism, art’s role in, 138–40
Communist International, as model for artists,
218
Constructivism, 199; aesthetic shift of, 171;
book and poster design, 165; early manifestation
of, 201–2
Constructivists, incompatibility of, with
Suprematists, 203–4
Constructivist theory, 65
Contemporary Western Sculpture (Romm), 44
cosmic discoveries, 194–96
Council for the Affirmation of New Artistic
Forms, 137–40
counterreliefs, 201
creativity, opposed to labor, 125–26
Cubism, 33
Cubist studio, 130
Cubo-Futurist paintings, of Unovis artists, 212
Cubo-Suprematist constructions, 212
Cultural League, 60, 61, 243
Danton (Rolland), 260
Davydova, Natalya, 35
decorative arts, 35
demonstration projects, 84
Den’ iskusstva, 292, 293
Derevitskaya, E. P., 279
De Stijl, 218–20
dispersion, 200
Dobuzhinksy, Mstislav Valerianovich, 20, 27,
30–31, 34, 42, 266; vacating position as
Narkompros school director, 39; Vitebsk:
A Signboard, 31, 32; Vitebsk: A Yard, 31,
32; on Vitebsk Board of Art and Artistic
Production, 34
Dolzhanskaya, E. K., 279
Draga, Valeria Frantsevna, 254–55
Drawing, 129
Dreier, Katherine, 210, 227
Dubasov, N. A., 275, 278
Duvakin, V. B., 312
Dymshits-Tolstaya, S. I., 118, 205
Efron, O., 15
Efros, A. M., 186
Efros, Natan M., 16–17, 188, 213–14
Eisenstein, Sergei M., 3, 118, 239, 295–96
ekskartina, 165
empty canvases, 186, 187
Ender, M., 105
Epstein, Genrikh, 58
Ermolaeva, Vera Mikhailovna, 39–40, 53, 90,
103, 110, 188, 224, 240; art of, requested for
From Representation to Construction, 201;
assistant to Malevich in formal-theoretical
section of GINKhUK, 191; ‘‘Chart of the
Progress of Contemporary Art,’’ 190; costume
design for Victory over the Sun, 96; on
Council for the Affirmation of New Artistic
Forms, 138, 140; experimenting with color
and material, 200; Gravediggers, 98, 99,
128; in group portrait, 142, 143; head of
surviving Vitebsk Artistic and Practical
Institute, 221–22; at INKhUK (Decem-
ber 1921), 203; involved with Malevich’s
correspondence with Dutch artists, 219;
involved with Unovis educational activities,
113; leaving for Petrograd, 223; line
engravings from Victory over the Sun cycle,
95, 96–98, 128; Multicolored Eye, The,
97; at 1922 Berlin exhibition, 211; ‘‘On the
Study of Cubism,’’ 129; part of old group of
Molposnovis, 92; plans for public art, 134;
production of Midsummer Night’s Dream,
89; sketch for a Suprematist decoration
for the Vitebsk City Theater, 252; stage
design, 214; Suprematist Construction (two
sketches), 117; teacher in Unovis’s Unified
Painting Course, 187; as Unovis Creative
Committee member and secretary, 109; on
Unovis’s educational methodology, 128
event of meeting, 292, 297
‘‘Exhibition of Paintings (Works) by Petrograd
Artists of All Tendencies, 1918–1923,’’
135, 187, 196, 211–12
Exhibition of the Three, 235–37
Exter, Alexandra, 35, 61, 131, 226
Falk, Robert, 48, 49, 234, 267; Cézannist
orientation of, 233; curator of Vitebsk
Museum of Contemporary Art, 231; influence
of, 232–33; Red Houses, The (sketch
for), 232; relationship with Malevich, 178,
233–35; relationship with Pen, 232; teaching
method of, 232; Women Wearing Red
Bodice, 232; work of, selected for Vitebsk
museum, 226; Young Painter (Lev Zevin),
235
Fauvism, 33
Fedorov, N. F., The Philosophy of the Common
Task, 194
Feigelson, N. M. (Natan Efros), 109
‘‘Fifteen Years of Works by Artists of the
Russian Federation of the Soviet Union,’’
172
Figures from the Opera ‘Victory over the Sun,’
95
First Russian Art Exhibition (Berlin, 1922),
210
Fomin, I. A., 3
Fontana, Anton (Osip), 4
Index 383

Forter, Henri, 272
Fradkin, I. B., 278
Fradkin, M. G., 278
Fradkina, E. S., 278
Free Philosophical Association of Petrograd,
289
Free State Artists’ Studios (SVOMAS), 27, 65
Freudianism (Voloshinov), 301
From Cézanne to Suprematism: A Critical
Essay (Malevich), 79
From Representation to Construction, 201
Frumak, Ruvim S., 18, 240
Futurism, 33, 125, 126–27; aim of, to destroy
direct perspective, 165; as basis for new
proletarian art, 34
Futurist paintings, of Unovis artists, 212
Gabo, Naum, 201
Gaideburov, P. P., 251, 288
Gandel, Sonia M., 130
Gavris, Ivan Trofimovich, 92, 102, 110, 224;
attempts of, to preserve Vitebsk museum,
227; comments at All-Russia Conference of
Art Students and Teachers, 150; comments
on Unovis’s first Moscow exhibition, 151;
Cubism (Violin), 136, 152; in group portrait,
142, 143; involved with Unovis educational
activities, 113; reporting about crackdown
on Unovis, 222–23; Unovis chronicler and
artist, 136; as Unovis Creative Committee
member, 109
Gershevich, D. A., 275, 278
Gershov, S. M., 240
GINKhUK, 140, 229, 312 (State Institute of
Artistic Culture in Petrograd); search for
surplus elements at, 191
Ginzburg, L. M., 270
Girutskaya, A., 90, 110
Glazunov, A. K., 269
Glushkov, P. T., 279
Godowski, Leopold, 275
Gogol, Nikolai, 6
Goldman, Alisa, 291
Goncharova, Natalia: Cyclist, 230; Wrestlers,
230
Gorky, A. M. (Maxim), 38–39, 296
Governor’s Palace (Vitebsk), 255
384 Index
Granovksy, Aleksei Mikhailovich, 256
Grigorovich, K. K., 52, 274–75, 278
Gropius, Walter, 110
Group of Artists, The: To Battlefront Week, 94
Gruzenberg, S. O., 52, 71, 243, 288; Psikhologiia
tvorchestva (The Psychology of
Creativity), 306
Guro, Elena, 38
Gurovich, Emma, 131; Lamp, 133
Gurvich, F. M., 278
Gurvich, I. N., 289, 290, 291, 295, 304
Gusev, N. I., 224
Gutman, Ya., 290, 291, 295
Gvozdikov, A., bust of Pen, 11
ice-cream vendor (Vitebsk signboard), 40
Idelson, Aleksandra, 231–32
Idelson, Raisa V., 15, 231–32, 234
Idelson, V. I., 231
Ilyinsky, P. N., 309
Imperial Academy of Arts, 27
Indenbaum, Léon, 58
INKhUK, 190; disagreements at, regarding
production art and easel paintings, 175;
Unovis at, 201–4
Institute of People’s Education (Ino), 303,
309–10
Ioffe, Nikolai, 52
Isbakh, A., 301
Iskusstvo (Art), 287
Itigin, S., 90
Ivanov, Vyacheslav, 301
Ivanova, Lidia, 281
Ivanova, Natalya Ivanovna, 113, 131, 132;
Composition with Letters, 134; Dynamic
Composition, 134; in group portrait, 142,
143; sketch for the emblem of the People’s
Conservatory, 277
Ivanovksy, V. G., 278, 279
Izvestia (Vitebsk), 28–29, 62
Jack of Diamonds, 66, 70, 97, 103, 193, 226,
231, 233
Jacques-Dalcroze, Emile, 281
Jewish Chamber Theater, 23, 263
Jewish culture and art, stimulating rebirth of,
58
Jewish Historical and Ethnographic Museum,
245
Jewish Literary and Artistic Society, 243
Jewish National Ornament: Engravings by
S. Yudovin, 245
Jewish Society for the Advancement of the
Arts, 60
Jewish State Theater, 256, 267
Jews: Pen’s portrayal of, 13; treatment of, 2,
10
Judeo-Russian art, 246–47
Judeo-Russian painting, 241; Pen as founder
of, 14
Judeo-Russian prose, 14
Kabishcher, Elena A., 89, 90, 131, 180, 238;
called to study in Moscow, 232
Kagan, Khaya (Anna), 90, 131, 211, 212, 224,
229; Supremist Composition, 212
Kagan, Matvei Isaevich, 274, 288–89, 290–91,
292–94, 304
Kagan, Yu. M., 306
Kaganova, Aleksandra, 50–51, 236
Kalmykov, Sergei, 156–58; clothing of, 159;
Suprematism, 157
Kanaev, I. I., Sovremennyi vitalizm (Contemporary
Vitalism), 307
Kandinsky, Vassily V., 33, 69, 148; work of,
selected for Vitebsk museum, 226
Kardovsky, D. N., 37
Karl Marx People’s Club, 289
Karsavin, Lev, 308
Kasperovich, M., 136
Kenig, Leo, 58
Kerensky, A. F., 285
Khaikin, B. E., 270
Khardzhiev, N. I., 135–36
Kharms, Daniil, 312
Khazak, T., 265
Khentova, Paula, 18
Khidekel, Lazar M., 47, 49, 52, 90, 138, 158,
188, 224; AERO: Articles and Projects,
215; Design for a Cosmic Habitat, 209; in
group portrait, 142, 143; Philosophy of the
Circle, 196; as Unovis Creative Committee
member, 109
Khlebnikov, Velimir, 107, 194, 312, 313

Khlebnikova, Vera Miturich, Portrait of Nina
Kogan, 107
Kirov, Sergei, 172
Kiselgof, Z., 265
Kleberg, Lars, 315
Kliun, I. V., 149
Klutsis, Gustav G., 67, 155, 201–2, 205; Axonometric
Painting, 203; works of, at Unovis
INKhUK exhibit, 202
Klyatskina, L., 113
Kobro, Katarzyna, 154, 158–59, 161–62;
Structure, 161; Suprematist Construction
(Suspended), 162
Kogan, Khaya (Anna), 229; Suprematist
Composition, 212
Kogan, Nina Osipovna, 39, 53, 105, 110, 188,
224; biography of, 102–7; on Council for
the Affirmation of New Artistic Forms, 138,
140; decorative panel for a Vitebsk streetcar,
105; in experimental drawing sessions,
113–15; ‘‘The Foundations of Pictorial Abstraction,’’
128; in group portrait, 142, 143;
involved with Unovis educational activities,
113; leaving for Petrograd, 223; Malevich’s
influence on, 101–2, 104, 107; part of old
group of Molposnovis, 92; plans for public
art, 134; portrait of, 107; seeking utilitarian
outlets for Suprematism, 104; sketch for a
decoration from a Suprematist ballet, 100;
Suprematist ballet of, 100–101; Suprematist
Toy, 104, 106; teacher in preparatory studio,
129; teacher in Unovis’s Unified Painting
Course, 187; as Unovis Creative Committee
member, 109; on Unovis’s educational
methodology, 128–29
Kogan, Osip Iosifovich, 102
Kolyubakin, G. A., 291
Komardenkov, Vasily, 263
Kommisarzhevskaya, Vera, 253
Kommisarzhevskaya Theater, 253, 255
Kommisarzhevsky, F. F., 253
Korsch Moscow Theater (F.A.), 251
Kostiuk, K. M., 240
Koussevitzky, Serge, 269, 276
Kozlinaia pesn’ (The Goat Song), 298
Kramskaya, A. A., 279
Kreinovich, E. A., 258, 260
Kruchenykh, Aleksei, 214; ‘‘Declaration of the
Word as Such,’’ 127–28; The Tenth Land,
95
Kudryashov, Ivan A., 154, 156, 158, 205–
6; design for the First Soviet Theatre in
Orenburg, 203; works of, 157; works of, at
Unovis INKhUK exhibit, 202
Kulbin, N. I., 33, 127
Kunin, Moisei (Mikhail) Abramovich, 47,
49–51, 52, 90, 234; Art of the Commune,
45, 49; called to study in Moscow, 232; as
circus performer Hans Kuni-Picasso, 51;
in Exhibition of the Three, 236–37; Great
Synagogue in Vitebsk, The, 50; in group
portrait, 142, 143; paintings of, 50; Self-
Portrait, 90; as Unovis member, 50; on
Victory over the Sun, 99–100; works of, as
background for group photos, 90
Kuprin, A. V. 3
Kuznetsov, P. V., work of, selected for Vitebsk
museum, 226
labor, opposed to creativity, 125–26
Lapshin, N. F., 104
Larionov, Mikhail, 33; Nude: Venus, 230
La Ruche, 58, 246
Lassalle, monument to, 171
Latvian Club, 264
Latvian groups, in Vitebsk, 37–38
Lebedev, A. A., 279
Le-Dantiu, M. V., 70; Man with a Horse,
229; Sazandar, 229; work of, selected for
Vitebsk museum, 226
Leesma, Ya., 294–95
Leitman, Lev M., 18, 246, 247
Lenin, V. I., 37; messianic and expansionistic
impulses of, 217; sculptural renditions of,
169
Leningrad, children’s book publishing industry
in, 39
Leningrad State Philharmonic Society, 269
Lentulov, A. V., 148; work of, selected for
Vitebsk museum, 226
Leporskaya, A. A., 173
Lerman, Moisei M., 23, 52, 145, 149, 238, 239,
240, 279; on Malevich’s first one-man show,
185–86
Levanda, L. O., 14
Levina-Rozengolts, Eva Pavlovna, 132
Levinson, A. G., 273
Levintova, A. M., 278
Levman, S. P., 275, 279
Liadov, A. N., 269
Liebknecht, Karl, 28, 31, 88
life creation, 34
Lifman, M., 23, 52
Likhtenstein, Itsakh, 58
Lissitzky, Lazar Markovich (El Lissitzky),
18, 52, 53, 64, 82, 90, 110, 160, 165, 243,
244–45, 287; Arch, 126, 153; artistic apprenticeship
of, 57–58; association with
Malevich, 164–65; banner with design,
83; Beat the Whites with the Red Wedge,
63, 111, 217; bringing Malevich to Vitebsk,
65–68; bringing three-dimensionality to
Suprematism’s flat geometrical figures,
85; childhood of, 57; City: Suprematism,
152–53; ‘‘Communism of Labor and the
Suprematism of Creation,’’ 125–27; Communications
Workers, Remember the Year
1905, 65; Composition, 60–61; contributing
to Bolshevization of Suprematist figure,
111; on Council for the Affirmation of
New Artistic Forms, 138, 140; cover of the
booklet Committee for the Struggle against
Unemployment, 85; Cover for the Committee
for the Struggle Against Unemployment, 133;
creation of name ‘‘El Lissitzky,’’ 112; design
for People’s Conservatory poster, 278; designing
educational program for creators
of new culture, 63–65; education of, 60;
electromechanical show, 173–74; exponent
of demonstration projects, 84; Factory and
Mill Work-Benches Await You, 85, 86, 165;
final collaboration of, with Malevich, 192;
first Vitebsk period, 60–61; forming own
proto-Constructivism, 201; founder and
pioneer of Russian book design, 121–22;
frustration of, at All-Russia Conference
of Art Students and Teachers, 150; Globetrotter
(In Time), 95; Great Synagogue in
Vitebsk, The, 59; in group portrait, 142, 143;
invitation to teach at VKhUTEMAS, 201;
involved with Unovis educational activities,
Index 385

Lissitzky, Lazar Markovich (continued)
113; involvement of, in decorating White
Barracks and City Theatre, 81, 85; leaving
Vitebsk for Moscow, 168; Lenin’s Tribune,
159, 160; link connecting centers of
Judeo-Russian cultural renewal, 60; Little
Goat, The, 60, 61; New Man (The Future
Strongman), 96; ‘‘Note Not about This
Book, A’’ (in Unovis Miscellany No. 1), 121–
22; organizing commemoration of deaths
of Liebknecht and Luxemburg, 88–89;
origins of prouns, 164–68; overcoming
architect’s habits, 165; part of old group of
Molposnovis, 92; participation of, in debates
at first public exhibition, 71; passion
of, for shtetl culture, 59–60; plans for public
art, 134; political woodcuts of, 61–63;
predating works, 153, 165; production work
on Malevich’s On the New Systems in Art,
75; Proun, 153, 167; Proun 1D, 153; Proun 5
A, 167; Proun 6 B, 165; prouns compared to
Yakerson’s works, 175; prouns at INKhUK,
203; prouns shown at Moscow exhibition,
152–53; sign of the city, 126–27; sign theory
of art, 126; Suprematism, 126; Suprematism
of the City, 127, 153; ‘‘The Suprematism of
World-Building,’’ 127; Suprematist Tale of
Two Squares, A, 166, 195, 215–16; teacher
in Unovis’s Unified Painting Course, 187;
theorizing in Unovis Miscellany No. 1, about
significance of artistic experiment, 125–27;
trip to Orenburg, 156; as Unovis Creative
Committee member, 109; use of technology
in design concepts for Victory over the Sun,
96; working in three dimensions, 198;
works of, at Unovis INKhUK exhibit, 202
lithography, 77
Liubvina, Nadezhda Ivanovna, 27, 34, 38–
39, 103; illustration for Zverushki, 39; on
Vitebsk Board of Art and Artistic Production,
34
Liubvina, Natalya, 38
Losev, Aleksei, 308
Lunacharsky, Anatoly, 22, 33, 37, 210, 268,
269, 276
Luxemburg, Rosa, 28, 31, 88
Lyubomirsky, E. O., 267
386 Index
Magaril, Evgenia, 36, 52, 110, 131, 224; in
group portrait, 142, 143; (untitled work),
134
Makhmadim, 58
Makke, K. Yu., 223
Malevich, Kazimir Severinovich, 33, 35,
40,48,49,50,82, 90, 105, 110, 160, 165,
224, 287; ability of, to attract attention,
67–68; admiring Kabishcher’s costume designs,
89–90; Ahola-Valjo’s meeting, 239;
applying Suprematism to cinematography,
193–94; architectons, influence of, 172;
arrest of, 219; art of, requested for From
Representation to Construction, 201; articles
in Unovis Miscellany No. 1, 191; association
with Lissitzky, 164–65; Carrying Soil, 187;
centenary of birth celebrated, 102; color
and light design for Victory over the Sun,
84; coming to the Vitebsk School, 66–68;
comments at All-Russia Conference of Art
Students and Teachers, 149–50; considering
practical applications of his artistic
system, 80–81, 87; constant communication
with students, 191–92; contact with
Strzemiński, 158–59; correspondence with
Dutch artists, 219–20; cosmic discoveries
of, 194–96; on Council for the Affirmation
of New Artistic Forms, 138, 140; Cow and
Violin, 74, 227, 228; with daughter Una,
109; death of, 311–12; ‘‘Declaration, A,’’ 123,
124; declaring existence of Suprematist-
Economist Party in Art (Unovis), 93; entry
into prophetic stage of his life, 123; at ‘‘Exhibition
of Paintings by Petrograd Artists
of All Tendencies, 1918–1923,’’ 212; first
one-man show, 185–87; From Cézanne to
Suprematism, 191; Future Strongman, The,
99; God Is Not Cast Down: Art, Church,
Factors, 191, 192, 215; Gravedigger, 159;
in group portrait, 142, 143; influence on
Kogan, 101–2, 104, 107; influence on Lissitzky,
60; at INKhUK (December 1921),
203; Introduction to the Theory of the Surplus
Element in Painting, 191, 234, 235;
involved with decorating White Barracks
and City Theatre, 81, 82; involved with
Smolensk students, 160; involved with
Unovis educational activities, 113; ‘‘Jack of
Diamonds’’ exhibit, 193; judging works for
their meteorite and cosmic texture, 195;
Knife Grinder, The, 210, 227; leading ‘‘State
Institute of Artistic Culture,’’ 202; leaving
for Petrograd, 223; Man with Sack, 186–
87; Miscellany: Supremacy of the Spirit,
123; Monumental Suprematist Ornament,
133; naming daughter Una, 108–9; ‘‘New
Evidence in Art’’ lecture, poster for, 217;
‘‘On the Collective and the ‘I,’’’ 123, 124;
On the New Systems in Art, 66, 68, 73–79,
112, 151, 191, 215; On the Question of Fine
Arts, 191; Page 27, 188; part of old group
of Molposnovis, 92–93; participation in
Russian Futurist books, 77; participation
in debates at first public exhibition, 71–72;
pedagogical plans of, 65–66; at Petrograd
GINKhUK, 228; Pictorial Realism of a
Peasant in Two Dimensions, 111; Planity,
164; plans for public art, 134; poetry of,
214; Portrait of I. V. Kliun, 228; Portrait of
M. V. Matiushin, 211, 213; Printed Cloth,
139; ‘‘Program for the Unified Course of
the Unovis Painting Collective, A,’’ 136—
37; publication of Vitebsk works of, 191–92;
publishing in Vitebsk Iskusstvo, 306; reasons
for being in Vitebsk, 184–85; redating
works, 73, 85; relationship with apprentices,
65–66; relationship with Bakhtin,
310–15; relationship with Falk, 178, 233–35;
reverence for, 192; role of Vitebsk in career
of, 184–96; seeing beginnings of Suprematism
in design for Victory over the Sun, 95;
Self-Portrait, 185; sketch for a speaker’s
platform, 118; Supremacy of the Spirit, 311;
Suprematism, 228; Suprematism in Architecture,
164; Suprematism of the Circle, 123;
Suprematism of the Cross, 123; Suprematism
of the Square, 123; Suprematism: 34
Drawings, 112, 121, 166s, 191, 192–94, 215;
suspicion of, regarding Berlin exhibition,
210; as teacher in Vitebsk, 187–92, 189;
‘‘Toward Pure Act,’’ 123, 124; transrational
verse of, 77–78; trip to Orenburg, 156;
‘‘UNOM 1,’’ 123, 124–25; as Unovis Creative
Committee member, 109; Unovis Cubist

works demonstrating graduated system of
instruction, 130; Unovis dress of, 110; using
aerial photographs as proof of Suprematist
reality, 158; using one of Chervinka’s
images, 134; views on Constructivism,
204; Woodcutter at Rest, The, 227; work of,
selected for Vitebsk museum, 226; working
with round volumes in GINKhUK period,
201
Malkin, M. M., 129, 211
Malko, Nikolai Andreevich, 52, 132, 206,
269–73, 277–78, 280, 287
Mansurov, P., 105
Marx, Karl, sculptural renditions of, 169–71
Marxism and the Philosophy of Language
(Voloshinov), 301
Masonic practice, within Bakhtin circle, 296
material aesthetics, Bakhtin and Malevich’s
rejection of, 311
Matiushin, Mikhail V., 33, 38, 73, 105; ‘‘On
Old and New Music,’’ 128
Matveev, A. T., 170
Mayakovsky, Vladimir, 38–39, 149, 186, 187
Mazel, Ilya, 18
Medved’na bul’vare (The Bear on the Boulevard)
(Zubakin), 297
Medvedev, Pavel Nikolaevich, 52, 71, 260, 281,
286–88, 289, 301, 306, 309; Formal’nyi
metod v literaturovedenii (The Formal
Method of Literary Studies), 307; solidarity
with Marxism, 308
Meerson, Tatiana Yakovlevna, 90, 110, 129,
130, 206; Still Life, 131
Meerzon, Iosif A., 205–6, 244; Counterrelief,
206; Portrait of Nikolai Malko, 269
Meier, A. A., 298
Melik-Pashaev, A. S., 270
Meriin-Kovarskaya, V. D., 275, 278
Meshchaninov, Oskar, 18, 170–71
Meyerhold, Vsevolod, 253–54, 263–64, 269
Miliukov, P. N., 285
Mindlin, I. M., 265
minimalism, 176–77
Minin, Efim S., 18, 90, 246
Minsky, N. M., 285
Mirkina, R. M., 300, 306, 309
Miturich, Peter, 103, 105, 107
models, term used to describe works of
three-dimensional Suprematism, 200
modernists, interest among, in folk art, 39
Modigliani, Amedeo, 32
Molot, 291
Molposnovis, 92, 108
Mondrian, Piet, 218
Morachev, D. A., 90, 232, 234, 238, 240
Morgunov, A. A., 149
Morgunov, N. S., 148
Moscow Archaeological Institute (Vitebsk
branch), 285–86
Moscow Jewish State Chamber Theater, 267
Moscow Maly Theater, 253
Moscow School of Painting, Sculpture, and
Architecture, 27
Motl, F., 269
Mravinsky, E. A., 270, 278
Nabokov, V. D., 285
Narkompros (People’s Commissariat of Enlightenment),
22, 27, 33, 37, 39, 60, 156;
involvement of, in creation of new museums,
225–26; Narkompros, reorganization
of (1921), 220; theater repertoire under
control of, 254
national theaters, 264–65
Neoplasticism, 218
Neue Kunst in Russland (1914–1919) (Umansky),
219
Nevel Academic Association, 259, 288–91,
294–95
Nikonovich, Elena, 239
Nizen, E. G., 38
Nonobjective Composition (unknown artist),
152
Noskov, Georgiy I., 93–94, 102, 110, 130, 224;
Composition, 151, 152; leaving for Petrograd,
223; at 1922 Berlin exhibition, 211; as
Unovis Creative Committee member, 109
Noskov, Mark Ivanovich, 93, 102, 130, 137
Notes of the Proletarian University, 287
Notes on the Unovis Movement (Gavris), 92, 93
Novachi, 206–7
Oberiu (Association for Real Art), 109
Obmokhu group, 204
October Revolution, 22, 25
Okolovich, Elena Aleksandrovna, 304
On the New Systems in Art (Malevich), 66, 68,
73–79
Orenburg, Unovis in, 156–58
Organization for a Creative Laboratory Institute,
140
Orloff, Chana, 58
Ovsyaniko-Kulikovsky, D. N., 285
painterly architectonics, 177
painting, as laboratory for the spirit, 123–24
Pale of Settlement, 2, 10–12, 14, 22, 58, 59, 291
Pantsyrny, M., 6
Path of Unovis, The, 216
Paustovsky, K. G., 3
Pavlova, Anna, 281
Pedagogical Library, 299
Pen, Yu. (Pen, Yuri Moiseevich), 6, 9–19, 48,
53, 90, 205, 239; After Tsimes, 13; Artist I,
The: Turzhansky at Work, 13; Bathing a
Horse, 12; Chagall’s letter to, 241–42; Divorce,
14; ethnographic depictions in work
of, 13; exhibition of students of, at Sorabis
Club (1921), 238–40; and his students,
15, 16; House with a Goat, 13–14; iconography
of, 12–13; incorporating influence
of neighboring cultures, 13–14; Morning
Reading of the Talmud, 13; Old Couple, The,
13; Old Dressmaker, An, 11; one-man show,
in Vitebsk, 240–41; painting Idelson sisters,
232; Portrait of Elena Kabischer-Yakerson,
13; Rabbi’s Visit to a Merchant, The, 241;
relationship with Falk, 232; reverential
devotion of, to art, 17; self-definition of,
14–15; self-imposed thematic limitations
of, 11–13; students of, 238–40; students’
gratitude toward, 17; supporters of, 11–12;
teaching as second calling of, 15–18; work
of, selected for Vitebsk museum, 226, 227
People’s Art School, 30, 34; beginning of
1919–1920 academic year, 53–54; Communist
Fraction, 50; conflict at (September
1919), 54–56; debates at first public exhibition,
70–72; first anniversary of, 89–91;
‘‘First Public Exhibition of Paintings by
Local and Moscow Artists,’’ 68–72; mu-
Index 387

People’s Art School (continued)
seum of, 52–53; preparatory studio in, 39,
54, 104; prizes awarded at first anniversary,
90–91; renamed around time of first
anniversary, 91; results of the first semester,
52–53; Romm’s work at, 42–44; sculpture
studio of, 180–83; teachers of (July
1919), 53; teachers and students (1920), 90;
transformed into Vitebsk Artistic-Practical
Institute, 190. See also Unovis
People’s Conservatory (Vitebsk), 267, 277–80,
299, 303
People’s University, 287
Perets, I. L., 267
Perets Society (I.L.), 61, 243–44, 247, 265
performance art, origins of, in Kogan’s Suprematist
ballet, 101
Perm Free State Studios, 155–56
Petersburg Society for the Advancement of
the Arts, 46
Petrograd City Museum, 39; signboard
department of, 40
Petrograd Jewish Chamber Theater (Studio),
265–66
Petrograd Museum of Artistic Culture, 229
Petrograd Society for Jewish Culture, 243
Pevzner, Natan, 201
Pfefferman, Abel N. (Abel Pan), 10, 18
plein air drawing, 17
Ponti, Carlo, 228–29
Popova, Liubov, 131, 177
Popridukhina, 52
Posnovis, 92, 93
poster-panels, for Vitebsk decoration, 23–25
Postnikov, A. P., 269, 279
Post-Suprematism, 162
Pougny, Jean. See Puni, Ivan Albertovich
Prague Legend, The (Lissitzky), 77
Presniakov, Valentin Ivanovich, 259, 280–81
Project for a Model Theater Museum, 257
Proletarian University, 287–88, 299
Prosveshchenie i kul’tura (Education and
Culture), 287
proto-architectons, 171, 172
prouns (project Unovis), 152–53, 175, 203;
born fully developed, 126; concept of,
crystallized in harmonious theory of pre-
388 Index
monition, 166; in memory of Liebknecht
and Luxemberg, 88–89; origins of, 85–87,
164–68; propagandizing, 166–68; universal
purpose of, 166
Provincial Military Committee, 261–62
public creativity, 93
Pugni, Cesare, 32
Pumpiansky, Lev Vasilievich, 71, 257, 259,
260, 274, 288–92, 297–300; Dostoevsky and
Antiquity, 309; lecture with Bakhtin, 304;
relationship with Bakhtin, 297–99, 308
Puni, Ivan Albertovich, 27, 31–35, 195, 219,
244, 280; Cobbler’s Shop in Vitebsk, 34;
Entrance of a House in Vitebsk, 34; influence
of, on poster as art, 34; role of, in
Vitebsk’s artistic life, 37; Self-Portrait, 33;
Still Life with Letters: Spectrum of Escape,
36; on Vitebsk Board of Art and Artistic
Production, 34
Punin, N. N., 229
Pushkin, Aleksandr, 294
Pustynin, Mikhail Ya., 62, 261, 301
Rabinovich, I. M., 61
Rabinovich, O. A., 14
Rabkina, Frida E., 180, 234, 240
Radlov, N. E., 27
Raikhman, Ya. A., 276, 279
Rastorguev, M. K., 254
Razumny, Mark (Mikhail) Aleksandrovich,
262, 263, 264
‘‘Red Army Man’’ propaganda train, 118
Red Square, 111
Reformatsky, A. A., 300
Reidemeister, V. A., 71, 288, 289, 310
Repin, I. E., 3
revkoms, 140
Revolutionary Theater, 263–64
Richter, Hans, 193–94
Rimsky-Korsakov, N. A., 269
Rivinson, A., 110
Rivinson, S., 90, 234, 239
Rivinson, Z., 90
Rodchenko, Aleksandr, 162, 226
Rodinson, Rakhmiel (Ierakhmiel), 244, 245
Rodinson Fund (R.), 245
Roerich, N. K., 20
Romm, Aleksandr Georgievich, 23, 25, 42,
53, 70, 288; At the Market, 43; cartoon
sketch, 42; friendship with Chagall, 41–
42; graphic miniatures of, 42; head of
Vitebsk Provincial Commission for the
Preservation of Artistic Monuments and
Antiquities, 245; instigating opposition
to Chagall at People’s Art School, 54–55;
instructor at Vitebsk Board of Art and
Artistic Production, 34; participation of,
in debates at first public exhibition, 71; at
People’s Art School’s first exhibition, 52;
Portrait of the Artist’s Mother Playing the
Piano, 279; Pulling Down the Column on
the Place Vendôme, 24; review of Exhibition
of the Three, 236–37; review of Pen’s life
and work, 240–41; review of Sorabis Club
exhibition (1921), 238; review of Unovis
exhibition in Vitebsk, 207–8; Self-Portrait,
43; Town Square, 44; work of, selected for
Vitebsk museum, 226, 227
Romm, S. E., 279
Rosenfeld, Berta (Bella), 21, 22
Rosicrucian Order, 294–97
ROSTA (Russian Telegraph Agency), 62;
Suprematist signboard at Vitebsk branch,
86
Rostropovich, Leopold, 278
Royak, Efim M., 27, 188, 224; City Landscape,
233; in group portrait, 142, 143; teachers of,
240
Rozanova, Olga V., 131; Abstract Composition
(Suprematism), 229; Blue House with
Flowers, 229; City Landscape, 229; Jar
with Flowers, 229; Red House, 229; work of,
selected for Vitebsk museum, 226
Rozenfeld, N., 90
Rozenfeld, Samuil, 221
Rozengolts, Klara Abramovna, 52, 131, 132–33;
Composition, 136; Cubism, 136; identity card
of, 134; Meat Grinder, 137; sketch drawn at
a People’s Art School chamber music concert,
278; student of Pen and Ermolaeva,
240
Rozhdestvensky, V. V., Still Life, 228
Rugevich, V. Z., 289, 294, 296
Russian Academy (Paris), 32–33

Russian Drama group, 251
Russian Monumental Reliefs (Romm), 44
Rybak, Isaac Ber, 60
Rybchenkov, Boris, 160
Sakhnovsky, M. P., 251
Sannikov, Dmitri, 130; Telephone, 132
Sapunov, A. P., 6
Savinsky, V. E., 37
Schoenberg, Arnold, 276
School of Paris, 32
sculpture, monumental, for propaganda
purposes, 169–71
Semenov, V. A., 281
semiotics, 126
Senkin, Sergei Ya., 67, 155, 203, 207; works of,
at Unovis INKhUK exhibit, 202
Sergenev, N. I., 254
Shabelsky, A. V., 258
Shaliutin, Boris Ruvimovich, 52
Shapiro, Tevel Markovich, 205–6
Shchekin-Krotova, A. V., 233
Sheidler, Georg (Georgi Georgievich), 275
Sheidler, Georg Ottokar (Georgi Iosifovich),
272, 275, 278
Shklovsky, Viktor B., 3, 38
Shkola i revoliutsiia (School and Revolution),
52, 64
Shostakovich, Dmitry, 269
Shpilman, S. M., 52, 274, 275, 278
Shterenberg, David P., 22, 148, 151, 210; let go
from Narkompros, 233; Writing Desk, 229,
230
Shulman, A., work of, selected for Vitebsk
museum, 226
Shulman, L. S., 11
Shuman, E. R., 278
Shuman, O. R., 275, 279
Shvarts, Marek, 58
Sidorov, A. A., 186
Sifman, 130
Sirochinsky, V. M., 310
Smelovsky, Ya. Z., 310
Smolensk, Unovis in, 158–63
social life, theatricalization of, 84
Socialist Realism, 140
Society of Russian Sculptors, 178
Sofronitsky, Vladimir, 274
Sollertinsky, I. N., 289
Sollertinsky, Ivan Ivanovich, 258–60, 279,
298, 299
Sollertinsky, Vasily, 259
Sologub, Fedor, 285
Somov, K., work of, selected for Vitebsk
museum, 226
Soutine, Chaim, 32
Spherical Evolution of a Plane, 228–29
Sphorim, Mendele Moykher, 267
stage trials, 260–61; Bakhtin’s participation in,
309
Stasov, V. V., 58, 245
Stepanova, R. P., (Olina), 132, 271, 279
Stepanova, V. F., 201
Sterligov, V. V., 173
Stroganov School (Moscow), 27
Strzemiński, Władisław, 154, 158–63; Counter,
161; Cubism—The Tension of Material
Structure, 161; interest in theatre, 160–61;
Revolutionary Propaganda, 161; still lifes,
161; Tools and Creations of Production, 161
Studio of Stage Art, 257
Subbotin-Permyak, P. I., 155–56
Suetin, N. M., 173, 188, 224; art of, requested
for From Representation to Construction,
201; designs for signboards for Vitebsk
EPO stores, 116; sketch for a speaker’s platform,
118; as Unovis Creative Committee
member, 109; using one of Chervinka’s
images, 134
Sukhodrev, B. M., 268
Sumarokov, Aleksandr Aleksandrovich, 52,
254–55, 260, 263, 301
Sumarokov, Aleksandr Petrovich, 254
Sumarokov, Pavel Ivanovich, 254
Suprematism, 49, 66; applied to the real
world, 80–83, 85–87; arguments against,
150; Black Square of, 111–12 (see also Black
Square); clearing way to infinity, 165–
66; compared with Neoplasticism, 218,
219–20; emblem of, 134; flowering of, in
Vitebsk (May 1920), 117–19; as foundation
for a new synthesis, 127–28; inspiration
for Yakerson’s monuments, 171; interest in,
for Western market, 102; Kogan’s seeking
utilitarian outlets for, 104; Malevich’s faith
in, 194; planetary and cosmic meaning of,
158; slogan of, 77, 111; three-dimensional,
164, 172, 174–78; Unovis Miscellany No. 1 as
incunabulum of, 121; utilitarianism injected
into, 81–87; white period of, 110
Suprematist Ballet, 159
Suprematist construction, 174–75
Suprematist Mirror, 213
Suprematist model, 213
Suprematist reliefs, 198–201, 202
Suprematist sections, 212, 213
Suprematist structures, 212–13
Suprematist system, 212–13
Suprematist Tale of Two Squares, A, 111
Suprematists, incompatibility of, with Constructivists,
203–4
Supremus No. 55, 228
surplus element of painting, Malevich’s theory
of, 190–91
SVOMAS, 137. See Free State Artists’ Studios
Symbolists, 33, 310
symphonic person, term used to refer to
Bakhtin, 308
tableau vivant, 31, 83, 84
Taneev, S. I., 279
Tarara-Bumbia, 261–62
Tatlin, Vladimir E., 33, 103, 159; Ahola-Valjo’s
meeting, 239; counterreliefs of, 201; ‘‘culture
of material,’’ 198–99; Monument to
the Third International, 204–5, 206; opposed
to collectivism, 204; opposed to
Novachi, 207; work of, selected for Vitebsk
museum, 226; working in spirit of collective
creativity, 204–5
Taurit, 52
technology, Lissitzky’s interest in, 64
tectonics, 64
Teitelbaum, Frida Davydovna, 273
Terevsat (Theater of Revolutionary Satire),
262–64
theatre, Russian avant-garde’s response to,
94–95
theatre design, 40, 61, 97, 160
Tikhantovsky Theater (D.I.), 251
Tikhomirov, P. I., 310
Index 389

Tilberg, Ivan Khristoforovich, 27, 264–65;
involvement with Latvian groups, 37–38;
monument dedicated to Taras Shevchenko,
37; Rural Landscape, 38; sculpture studio
of, 37–38; on Vitebsk Board of Art and
Artistic Production, 34, 37
Timofeeva, N. A., 156, 157, 158
Tinguely, Jean, 144
Today (Segodnia, book publishing collective),
39
Traveling Theater Notes (Medvedev), 301
Trotsky, Leon, 62
Tseitlin, Boris, 36, 52, 90, 102, 110, 130; design
for decorative panel for a Vitebsk streetcar,
116, 117; at 1922 Berlin exhibition, 211; plans
for public art, 134; Ration Card, 131, 134
Tshokher, A. O., 71
Tsiolkovsky, K. E., 194, 195
Tsionglinsky, Y. Y., 37
Tsiperson, Lev, 47, 49, 50, 52; Cubism, 152; in
group portrait, 142, 143; stage design, 214
Tsshokher, Alfred Oskarovich, 258, 279–80,
288
Tsvetaeva, Anastasia Ivanovna, 294
Turova, E. I., 39
Turzhansky, Ivan A., 11, 49, 226
Udaltsova, Nadezhda, 35, 131
Udre, 52
Uecker, Günter, 101
Ulrikhs, 289
Ungern-Shternberg, Roman Fedorovich,
257–58
Ungern-Shternberg, Rudolf Aleksandrovich,
253, 255–58, 266, 299
Unified Art Studio (Unovis), 48
Union of Youth, 33, 38
Unism, 163
‘‘UNOM 1’’ manifesto, 112
Unovis (‘‘Exponents of the New Art’’), 36,
49–50; art exhibitions of, 207–13; associations
with other cities, 154; beginnings of,
108–9; creation of an ‘‘Arts International,’’
217–20; Creative Committee of, 109–10,
227–28; Cubist workshops of, creating
Suprematist reliefs, 198–99; educational
activities of, 112–17, 136–37; emerging onto
390 Index
national scene, 154–63; end of, in Vitebsk,
220–24; entry of, into reality, 133–34; Evening
at the Vitebsk Latvian Club poster,
213; ‘‘Evenings with Unovis,’’ 213–14; experimental
drawing sessions, 112–17; first
Moscow exhibition of, 151–53; group portrait,
141–44; hierarchy of types and genres,
212; hymn of, 112; at INKhUK, 201–4; last
public appearance of, 187; late to All-Russia
Conference of Art Students and Teachers,
148–49; members of, considering themselves
full-fledged artists and creators, 146;
motto for, 77; nucleus of, 47; in Orenburg,
156–58; organizational forms of, 109–10;
organizational structure of, comments at
All-Russia Conference of Art Students and
Teachers, 150; origins of, 92–93; pedagogical
goals of, 128–29; posters created by, 217;
publishing activities of, 214–17; relationship
to the West, 217–20; rituals of, 110–12; seal
of, 111; in Smolensk, 158–63; Third Regular
Exhibition of Pictures poster, 207; Unified
Painting Course, 187
Unovis Collective, 201
‘‘Unovis and Its Public Creations,’’ 83–84
Unovis Leaflet No. 1 of the Vitebsk Creative
Committee, 216
Unovis Miscellany: Second Edition by the
Vitebsk Creative Committee of Unovis, 215
Unovis Miscellany No. 1, 93, 94, 96, 102, 112,
121, 123, 127, 130, 131, 151, 215; composition
and structure of, 123–27; construction
of, 120–23; Council for the Affirmation of
New Artistic Forms, 137–40; editorial staff,
115–17; existing copies of, 120; Malevich’s
articles in, 191; preparation of, 119; ‘‘Unovis
and Its Public Creativity,’’ 133–36; Works
from the Cubist Studio, 129–33
Unovis Protocol of the Evening of Experimental
Drawing, 114
Urvantsov, L. N., Vera Mirtseva, 309
Uspensky, A. I., 286
Vaginov, Konstantin, 298
Vainkop, Yu. Ya., 34, 244, 280
van Doesburg, Theo, 218
van’t Hoff, Robert, 218–20
Veksler, Moisei (Mikhail) S., 23, 47, 50, 52,
130, 188, 224; in group portrait, 142, 143;
Ringing Alarm Clock, 132
Veltman, B. I., 274, 279
Viardot, Pauline, 279
Victory over the Sun, 158, 159, 173; American
production of, 94–100
Vidor, Charles, 271
Vidrevich, B., 23
Vikhansky, S. N., 240
Vitebsk: Ahola-Valjo’s schematic of, 240;
artistic life in, put on hold, 19; Café Jean-
Albert, 21; Cathedral of the Dormition, 314;
celebrating first anniversary of October
Revolution, 22–26; Chagall’s decoration
of, 22–26; churches of, 3–6, 58; City Theater,
Dobuzhinsky’s decoration of, 31;
creativity inspired by, 3–6; District Court
and Smolensk Street, 115; Dobuzhinsky’s
contribution to, 30–31; fire in, 5; flowering
of Suprematism in (May 1920), 117–19;
Gogol Street, 10; Great Synagogue, 59; history
of, 1–3; Kanatnaya Street, 66; literary
tradition in, 285–86; music scene (1918),
268–69; organization of Education Center,
253; panoramic view of, during Chagall’s
childhood, 2; revolutionary celebration, 26;
school of graphic art, 246; Smolenskaya
Street, 301; streetcar system of, 3; theatre
in, 251–67; view from Uspensky Hill, 18;
Zamkovaya Street and Zamkovy Cathedral,
304
Vitebsk Artistic and Practical Institute, 267;
graduates of, 223–24; intolerance toward,
221–23
Vitebsk Board of Art and Artistic Production,
34
Vitebsk Committee for the Struggle against
Unemployment, 80–86
Vitebsk Contemporary Art Museum, 27
Vitebsk Festival of Chamber Music in Memory
of I. I. Sollertinsky, 260
Vitebsk Gubono (Vitgubono), 81, 159–60,
221, 231, 244–45, 247, 267, 287
Vitebskii listok, 28
Vitebsk Museum of Contemporary Art,
225–30

Vitebsk Music Technical School, 280
Vitebsk People’s Art School, 27–29
Vitebsk school, significance of term, 210
Vitebsk School of Painting, Pen as founder of,
11–15
Vitebsk Studio of Dramatic Art, 257
Vitebsk Symphony Orchestra, 270–73
Vitebsk Union of Poets, 301
Vitenzon, A., 23, 49, 52
VKhUTEMAS (Higher Artistic and Practical
[Technical] Studios), 48, 51, 137, 190;
students accepted by, 238
Volfila, 289
Volkhonsky, Efroim (Arkady), 49, 50, 52,
90, 142, 143, 234, 240; called to study in
Moscow, 232; in Exhibition of the Three,
236–37; Vitebsk, Zaruchevye, 236
Voloshinov, Valentin Nikolaevich, 259, 274,
287, 288–89, 296, 300–302; Frejdizm
(Freudianism), 307; Marksizm i filosofiia
iazyka (Marxism and the Philosophy
of Language), 307; publishing in Vitebsk
Iskusstvo, 306; solidarity with Marxism,
308
von Kordig, Aleksandr Kasparovich, 294
Voprosy vneshkol’nogo prosveshcheniia (Problems
of Adult Education), 287
Vrubel, Mikhail, 310
Walden, Herwarth, 20–21
Wanderers, 14
Week of the Front, 93–94, 262
Week of the Labor Front, 119
‘‘WeWant...’’(leaflet-manifesto), 216–17
White Barracks, redecoration of, 81–84
white Suprematism, 124. See also Suprematism
women, role of, in Russian avant-garde art, 131
Worker and Peasant (Mukhina), 172
Yakerson, David A., 18, 23, 53, 90, 180; adoption
of compositional element, 175–76;
attempting to blend abstraction and anthropomorphism,
172–73; Black Cycle, 176–77;
Chagall’s certificate for, to acknowledge
work in decorating Vitebsk, 23, 24–25;
Chariot, The, 24; Crucifixion, The, 178,
179; Cubo-Suprematist Figure, 173; design
for ‘‘Glory to Labor’’ decorative panel, 24;
Horseman with the Sun, 24; model for a
monument to Karl Liebknecht, 171; model
for a monument to Karl Marx, 172; monument
to Karl Liebknecht, 171; monuments
by, 169–72; offered post as head of sculpture
department at People’s Art School,
54; paintings of, 176–78; Portrait of the
Artist’s Brother, 170; replacing Tilberg
at People’s Art School, 38; responsible
for monuments to Marx, 170; sculpting
technique of, 170; sculpture studio of,
180–83; sculpture studio students, 180;
Self-Portrait, 170; Shift Deformation, 181;
Standing Cubo-Suprematist Figure, 173;
Standing Nude, 183; Standing Suprematist
Figure, 174; Stereometric Suprematism, 176;
Striding Suprematist Figure (Suprematist
Robot with Antennae), 175; Suprematist
Composition with Black Square and Bar,
176; Suprematist Composition with White
Circle, Triangle, Transparent Square, and
Stripe, 178; Suprematist Sketch (Black and
Gray Squares on White Square), 179; White
and Gray Squares on Black Square, 177;
working in three dimensions, 198; works of,
compared to Lissitzky’s prouns, 175
Young People’s Theater, 258
Yudin, Anatoly Yakovlevich, 273
Yudin, Gavriil Yakovlevich, 34, 195, 244, 259,
269, 271, 273, 280, 299
Yudin, Lev A., 38, 52, 90,110,138,180,
188, 224; assistant to Malevich in formaltheoretical
section of GINKhUK, 191;
Colored Linoleum, 129, 130; comments on
Malevich, 192, 193; Cubism, 152; diary of,
199; experimenting with color and material,
199–201; in group portrait, 142, 143; influence
on, of Kruchenykh and Khlebnikov,
200; involved with Unovis educational ac-
tivities, 113; on Malevich and Falk, 234–35;
reporting on Malevich’s lectures, 187; at
1922 Berlin exhibition, 211
Yudin, Veniamin Yakovlevich, 273
Yudin musical clan, 273–74
Yudina, Maria Veniaminovna, 259, 273–74,
288, 289, 291, 299, 308
Yudina, P. I., 273
Yudovin, Solomon B., 18, 23, 50, 52, 71, 239,
244–46; Cathedral of Saint Anthony, 245;
Funeral in the Town, 246; Return from
the Market, 245; Synagogue (stereotype
by M. Malkin), 244; work of, selected for
Vitebsk museum, 226, 227
Yutkevich, Sergei, review of Unovis’s 1923
exhibit, 213
Zadkine, Osip, 18–19, 32, 57, 58
Zale, K., 170
Zavelev, E. I., 275, 278
Zeilert, V. K., 240
Zeldin, Chaim, 23, 47, 47–48, 52, 180; in
group portrait, 142, 143
Zeldin, I. M., 23
Zelinsky, F. F., 280
Zevin, Lev Y., 16–17, 18, 23, 47, 48–49, 50, 52,
90, 234, 240; called to study in Moscow,
232; in Exhibition of the Three, 236–37;
View of Vitebsk, 48
Zhadova, Larissa, Suche und Experiment
(Search and Experiment), 141
Zhiv, I. S., 291
Ziloti, A. I., 269
Zimin, K. A., 279
Zubakin, Boris Mikhailovich, 274, 288–89,
290, 294–97, 300
Zuperman, L. L., 90, 102, 110; Composition:
Music, 128, 152; Cubism, 128, 152; in group
portrait, 142, 143; involved with Unovis
educational activities, 113; ‘‘On Theatre,’’
128
Zvantseva, E. N., 20
Index 391