can offer this Grigorieva (year, plot size, Qual. better), if you're interested, write to lichku

In 1919, in Vitebsk, a new association "affirmative new art" or, more simply, School of Malevich. You can talk specifically about the school, because he was already a recognized master, around which rallied very young boys of 17-18 years, only some were a bit over 20. In the history preserved quite a lot of names from the circle - Anna Kagan, Nina Kogan, Vera Ermolaeva, Anna Leporskaya, Lazar Hidekil, Yefim Royak, Ivan Chervinko, Lev Yudin, Lazar Hidekil, Ilya Chashniky Ivan Gavris Nicholas Suetin, Eduard Krimmer, Paul Basmanov, Konstantin Christmas - and quite a few works, which is understandable - the documents stored better than useless clever pictures. For most of the names preserved literally two or three paintings and a dozen graphic sheets, and even they are the dream of many collectors. In separate masters of this school have increased the unit, someone died early (Chashniky), someone had disappeared in the camps (Ermolaeva), is now relatively well-presented work, only three of them: Suetina Nicholas, his wife Anna Leporskii and later joined the band of Konstantin Christmas. Their biographies are in the database of this site, so only submit work.

And a little Suetina:

She was a friend of Malevich, the wife Suetina, it was love Christmas, probably will not be an exaggeration if we call it a muse range of Malevich. She lived a fairly long life, passed through the cleaning of the thirties, survived the siege of Leningrad, the last years of his life was confined to bed, but before the last hour has been faithful to the precepts of the Teacher, the ideals of youth, while remaining one of the last figure of the Russian avant-garde. Anna Leporskaya - a remarkable artist, whose work postsuprematicheskogo or peasant cycle is not inferior to the level of the works of the Masters.

And some more:

Daughter of Anna Alexandrovna sold her apartment, along with almost all the conditions of a Petersburg artist at the studio. There are lots of what is left of Leporskii and Suyetin.
For example, all struck the table, made by hands Nikolai Mikhailovich. Round at first glance, but with interesting twists suprematic.

Konstantin Rozhdestvensky was about thirty, when the epoch of Malevich. He was lucky - he has lived twice as long, all the while actively working. On Christmas, as a painter and apprentice quickly forgotten, he became the designer of large public exhibitions and public figures. And, although this is life after Malevich, was completely Ina, he did not retreat from the ideals of youth, at the very end of life returning to where to begin in the early thirties, knowing that he wrote that nobody wants. His first solo exhibition was held after the first death - in 2006, the centenary of his birth, and this exhibition at the Tretyakov Gallery and released to her catalog have been a boon to everyone who loves the Russian avant-garde.

I specifically did not give, as in the previous posts and pictures in chronological order, because I wanted to show that the artist's skill and beliefs have not changed much in sixty years.
And yet - note the picture number 8 from the previous post - not a bad name to the thirties!
And draw your attention to number 3 of this post: Rothko called it a "black on green to yellow, etc., at Christmas it's called" Sketch of packaging for perfume (on the back of refinement - for egg-washing).

Qwerty, took advantage of your quote from the theme Auctions:

to continue the conversation about the "school of Russian avant-garde.

School Filonov, which was titled "Masters of Analytical Art" was formed in 1925 from students in Filonova Arts. The Ideology of MAI was based on theoretical work Filonova "make prints" (1914), "Declaration of the World Blossom" (1923), "The Ideology of Analytical Art and principle-designed" (1923). Classes are held directly at the team headquarters Filonov (st. Writers, 19). Group members were constantly changing, but at different times of school year about 70 artists

The first exhibition of MAI (1927) was held at the Press House (Fontanka Embankment, 21), then teamwork displayed at the exhibitions "Contemporary art group in Leningrad (1928-29)," Artists of the RSFSR during 15 years (1932-33).
The best-known works design team began the play "The Inspector General" by Gogol (1927, dir. Terent'ev IG) and the foyer of the House version, in which the performance took place, and working on the design of the Karelian-Finnish epic "Kalevala" (1933).

Collective training continued until the death of Filonov (1941).

Now look for the list of participants and pictures to illustrate ...