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248:"Russian futurism was a literary as much as an artistic movement, and its relentless creative experimentation thrived on the exchange of ideas between different artists and different disciplines. In July 1913 Malevich collaborated with the musician Mikhail Matyushin and the poet Aleksei Kruchenykh on a manifesto calling for the dissolution of language and the rejection of rational thought. Kruchenykh coined the word
193:. The man's face is partially obscured by a white fish. Regarding the identity of the man painted by Malevich, the Head of Archives at the Stedelijk Museum, Michiel Nijhoff, has said, "The Englishman is not a specific Englishman but rather a metaphor in the juxtaposition of East and West; city and countryside."
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debate in
February 1914, wearing a wooden spoon in his buttonhole, Malevich declared his renunciation of reason. The wooden spoon also appeared in the painting An Englishman in Moscow 1914, which resembles an absurdist collage of unrelated objects at different scales – such as the white fish that
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argued that, "Russian futurism in the visual arts was closely linked to literary experimentation. Kazimir
Malevich drew on both Cubist visual devices and contemporary Russian poetry to disrupt conventions of meaning in so-called Cubo-Futurist paintings like
271:"...What the artist imagines such an Englishman might notice about the city in these days when the Russian Revolution is already threatening, curious, unrelated things that come together in his mind like a scrapbook or collage."
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Narrating a short documentary film about the painting, art critic Edwin
Mullins proposed an alternative interpretation, suggesting the canvas is telling the story of an Englishman's journey through Moscow and it depicts:
216:. Malevich had been influenced by Russian literary futurists and the inclusion of Russian text, text fragments, and puns can be seen in at least two of his canvases (
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and other items. Malevich also painted symbols and text characters onto the canvas—segments of the words "partial" and "solar eclipse" are seen in
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dwarfs a medieval church – alongside fragments of text. The picture suggests the elements of a complex riddle without a solution."
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said the painting is, "anti-rational forerunner of surrealism, colliding cubist fragments with apparently random objects."
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is considered a precursor to the
Surrealism movement. Reviewing the 2014 Malevich exhibit at the Tate Modern, The
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Devastation and
Laughter: Satire, Power, and Culture in the Early Soviet State (1920s 1930s)
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The painting itself features a collage of geometric shapes and items such as a lit
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376:. Toronto, Buffalo and London: University of Toronto Press. p. 130.
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516:"Back to square one with Kasimir Malevich's new exhibition at the Tate"
466:"Who is the Englishman in Malevich's 'An Englishman in Moscow' (1914)?"
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88 cm × 57 cm (35 in × 22 in)
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560:"Masterworks: Cubism and Futurism, An Englishman in Moscow, 1913-14"
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The
Poetics of the Avant-garde in Literature, Arts, and Philosophy
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493:. Bloomington: University of Indiana Press. p. 360-361.
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The titular
Englishman depicted in the painting is wearing a
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Sacred
Stories: Religion and Spirituality in Modern Russia
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Regarding the text on the canvas, the art history book
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was exhibited in 2014, has described its meaning as:
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538:"Malevich: Room 4 Painting, Poetry and Theatre"
468:. How to Talk About Art History. 20 March 2019
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514:Claudia Pritchard (7 July 2014).
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399:"Malevich and Film"
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156:англичанин в москве
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562:. Alexander Street
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181:Description
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129:.stedelijk
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589:9 October
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288:Influence
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214:Russian
189:and an
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168:Russian
152:Russian
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540:. Tate
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257:At a
210:spoon
160:Dutch
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