In 1922 Suetin discharged, on the other photos of that time he was in a military overcoat with a square badge on the sleeve - a sign UNOVIS. In the army he was called to the First World, there engaging in decoration craft, and from 1918 comes in the People's Vitebsk art school, created by Marc Chagall. In the summer of 1919 in Vitebsk on the initiative of Marc Chagall arrives Lazar Lissitzky, already, however, ready to embark on the path of Suprematism. Suetin recorded in the studio Lisitsky, who, according to Marc Chagall, "came another God, whom he soon gave up and left also. Lissitzky agree with the rector of Faith Ermolayeva invitation "his god" - Malevich and leads negotiations with him about moving from Moscow to Vitebsk.
We Suetina and before he met Malevich was interested in a hollow form, it is now possible for practical work - he is involved in the decorative design of Vitebsk on May 1, creates thumbnails of signboards, designs dining and shopping. Often binding theory of Suprematism to the real problem becomes stylized, a set of geometric techniques. Lev Yudin in diaries repeatedly mentions the work respectfully Suetina, quoted him as saying: "The artist must be in force, but not in the effort." Ibid: "In [ere] M [ihaylovne Ermolayeva] terribly hard to get rid of aestheticism ... The deliberate crudeness of execution - Much more spice! Not at all rescues ... Suetin is true ... Suetin - fellow. For the first time felt the white material (probably white model).
Vera Ermolaeva in Vitebsk was sent on assignment Narcompros Division of Fine Arts in April 1919 the artistic education she began in the famous St Petersburg workshop M. Bernstein, continued it in Paris, was a volunteer at the Archaeological Institute (where studied B. Mathew, M. Le Dante AN Lapshin). In 1914, in a circle "bloodless murder, she participated in the design of similar collections, the most" Ermolaevsky "of which was Assyro-Babylonian edition, which appeared in March 1916. "Bloodless murderer" wrote the play, set and designed for them shows, creating art parties, debate at meetings, ironically calling themselves "cream of genius. Since the summer of 1918 Ermolaeva engaged in the design of books typographic Artel "Today", which became the Union of Writers and Artists. The artist made prints for the "Pioneers" Walt Whitman and several books of Nathan Vengrova. Artel staged "living journal", which were attended by Anna Akhmatova, Mikhail Kuzmin, E. Zamyatin, Osip Brik, Viktor Shklovsky, Vladimir Mayakovsky. In the same year, Ermolaeva works in the Museum of the City and (in collaboration with N. Kogan and N. Liubavin) gathers a collection of pictorial signs, then disappearing under the onslaught of fashion power of advertising.
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Based on this artistic experience, Ermolaeva enthusiastically starts in Vitebsk, and is considered to be in college "senior Cubist. It is involved in set design, wrote theoretical articles and prepares second edition of the famous futurist opera "Victory over the Sun". However, since the early 1920's financing Vitebsk institution ceases, Ermolaeva returned to Petrograd, and participates in the organization of the State Institute of Artistic Culture (Ginhuka), where he continued studying sezannizma and Cubism. After Malevich, his disciples and L. I. Chashnikov Khidekel, autumn 1922 in Petrograd comes Suetin.
UNOVIS no longer exists, but some artists who were part of a group, continue to work side by side, in Ginhuke. Only Suetin and continue Chashniky UNOVIS case, the dispute, then connecting with the work of Malevich. Ermolaeva and Yudin represent a group with other interests. The separation is scheduled to be back in Vitebsk. It did not prevent the close friendly relations and Ermolayeva Suyetin. Malevich united all. By and large, all activities Suprematists and new young artists who joined him, was a logical development of ideas and methods of Malevich. At the same time Suetin starts working at the State Porcelain Factory, where he wrote, deals with the composition "Suprematist forms to apply it to the form of paintings and porcelain," which meant (we now know it) a new era. Suetin engaged in a new landmark ornament and raises questions in the cult proportions, it Suprematist porcelain, saying today's language, it is - art objects, have received international recognition.
In Ginhuke Suetin listed in the department of common ideology and formal theoretical division, which constitute the core Ermolaeva, Chashniky and Yudin. Like other state institutions, Ginhuk should not contradict the general principles of scientific and artistic institutions that did not align with the ideology of the new art, temporary conflicts are difficult to avoid, they become a constant backdrop. Vera Ermolaeva recognizes the special role in Suetina Suprematic and documented in her diary conflicts associated "with the sprouting of H [ikolaya] C [uetina] of gray numbers in the face. Suetin wants to create in the institute "internal autonomous organization of scientific staff. Ginhuk active, under threat of closure and being in the organizational and economic crisis - "promise to pay tomorrow, 9 rubles - the first year and a half of work!" - Ermolaeva writes in his diary in January 1925 th. In December 1926 the first departments of Malevich, Suetina Laboratory, Department Matyushina infused into the State Institute of Art History, where he organized the Committee for the Study of Modern Art. Malevich - artist-experimenter, Suetin - his assistant, along with work Ermolaeva and student Matyushina M. Ender.
Vera Ermolaeva talks in 1926 in a letter to Mikhail Larionov, who lives in Paris, the most important: the mutual obligations of the artist and the state, the content and form of harmony and control. Definition of "irrelevance" it used the synonym for emptiness, that quality that does not allow the authorities not objective artist for "exhaustion of raw plot" modernity. "We argue that the nature of artistic culture is not dependent on political, religious and personal ideas, that the essence of pictorial culture aimless, meaningless and unprincipled, that the artist would cover up the color of that face, which podsunet his life, but life is playing with a bad game, and makes serve themselves, their politics, religion and way of life.
From notebooks with notes and drawings Suetina on August 5, 1924: "Painting, revealing in the process of movement, came to the negation of the content and the end result gave the assertion that the scenic quality of the stands, regardless of any content and exists only as a clutch elements. The shape, color, texture - and they are (linked in rhythmic unity and allowing space) - the content of painting. Denial of content also provides content, but only through negation, a new concept. "
Ermolaeva wrote about his work in Ginhuke: "... we roemsya inside painting and color, color patterns, the color fields in the structure of forms, in all that specific, what distinguishes the artist from photographs and film, advertising, newspapers, books and other carriers walking ideas. We have to figure out for the first time that painting as such has its own orbit and that its culture, before reaching the stage II of Cubism, ended forever and can only go backwards from Corot to Cezanne, softer and vyalee that 100%of it have already been achieved and the present will only work in color, and all the plastic arts movement in architecture goes, what will end classicism era. Although it is not soon. " Suetin signs below the figure of 3 December 1924: "Art can not move at all, since moving only the circumstances arising from elements of economic and social conditions. So the question of our time put Suprematism quite specific: to be or not to be painting.
Ermolaeva talked about reaching its peak in painting and, turning it "back from Corot to Cezanne," led it almost on negative selection. But in art there is no progress and achieve 100%production objectivistic measurements came from the alchemical Philosopher's Stone to identify problems or dry residue in the subjective sphere of aesthetics. On the other hand, "from Corot to Cezanne" - a way of forerunners of cubism to the precursor of Impressionism, which corresponds to the general (and personal Ermolaevsky) focus on impressionism in painting those years. The art of plastic, ie formotvorchestvo Ermolaeva sends to the future architecture (architecture paper 1970?), and color, free from forms, remains in the present, which only they and will work. Analysis of individual formal elements really helps to see the dynamics of the whole language of painting - in 1923, perhaps the only critic D. Arkin diagnosed - the elimination of Cubist reception followed by a shift in dramatic changes the content component. "Following the approval of the subject clearly planned to present the return of the plot - but not in the sense of" literary content "pictures, as was the case until the process of differentiation." It has been nearly ten years and a new plot point moved its reliance on formal and stylistic categories of painting (suetinskoe: "To be or not be a picture").
After closing Ginhuka around Ermolayeva formed a small company called "group of plastic-pictorial realism," the center of which were L. Yudin, AK Rozhdestvensky, V. Sterligov, K. and M. Ender. Yudin defined the tasks of the group: "What characterizes the new period? It is based on the desire to establish identity for some quick, specific balance between themselves and reality, based solely on their plastic money. Individual search Ermolayeva helped her travel to the Barents Sea (1928) and White (1930) Sea and in situ work in the summer of 1932 and 1933, when she was with his students of the Kazan and M. V. kovich lived in Pudosti at Gatchina. These works are far from plenerizma, the integrity of the paintings was conceived framework, "which opens the way to comprehend the inner meaning of every phenomenon of nature, to transfer the most expressive of her life, and excited by it human feelings, thoughts and feelings."
In postginhukovskoe time Suetin working on Suprematist design and architectonics, a lot of draws, writes paintings on canvas and on the boards. In his painting Ermolaeva sees "the combination of the picturesque and Suprematist color sensations. December 26, 1927 Suetin wrote: "I was brought up three of Russian art. Icon. Shishkin. Malevich. From today's point of view, it is this triumvirate and headed Russian art in the face of the rest of the world. Suetin seeks to synthesis, its practical activities is very wide: he sketched the Pskov church, photographs of peasants in the field, wrote a new type of non-figurative painting, taking export orders Suprematist porcelain, made the unusual frame associated with the color scale paintings. Ermolaeva continues to work as an artist book, illustrated by N. Aseeva, E. Schwartz, "oberiutov", she comes up with picture books and, together with L. Yudin books, toys. In the early 1930's, she is drawn to the Russian classics - Krylov's fables and tales M. Saltykov-Shchedrin. Separate works in themselves have gouaches in explanation of the poem Lucretius Kara "On the nature of things", the theme song of "Don Quixote" and Cervantes' poem "Reynard".
Among students Ermolayeva occupies a special place Mary of Kazan. It stands out and the artistic temperament, and acuteness biographical lines. For the family born in St. Petersburg intellectuals, surrounded by fellow artists, "the question of choice of profession did not stand (on the memoirs of the younger sister). After school, Kazan was not forthcoming in the Academy of Fine Arts - in 1931 there was no reception, and began taking lessons from Vera Ermolaeva. Education was going on methods Ginhuka - the basis for lessons in painting there were studies of the five stylistic systems: Impressionism, sezannizma, Cubism, Futurism and Suprematism, as well as copying the masterpieces of the French school. When Kazan went on to work independently, she chose an emotionally close to her Fauvism, with the color impulsive, nervous line and composition, built on the primacy of spots - the way "fearless artist" (A. Rusakov). Ermolaeva taught to move from general to specific, from space to the volume of the medium to the subject. On the back of the sketch of still life is preserved (one of many) Methodological note: "bouquet should be understood as an array, rather than from the branches and flowers, located on different levels." Education did not last long, about three years until December 1934, when Kazan was arrested in the case Ermolaeva, as the party of counter-revolutionary group trying to establish a clandestine relationship with foreign countries and a leading anti-Soviet propaganda among others. In March 1935, "investigation against Mikhail B. Kazan was discontinued because the guilt in the process of investigation has not been established. Vera Ermolaeva was sentenced to three years in the camps and in September 1937 shot in Karlag. In the same year 23-year-old Maria Kazan left classes in painting, and in 1942 died in besieged Leningrad.
At the 1934th Suetin unsuccessfully trying to help a seriously ill Malevich, to arrange for medical treatment abroad. In the last months of life Suetin teacher makes a series of photographs, and in 1935 at the funeral, he and K. Christmas is Suprematist coffin, produces the urn for the ashes, and later brings a gift to the Russian museum death mask and cast of the artist's hand. In the same year, Ermolaeva condemned as socially dangerous element in the case of the group of plastic realism "and sent to the camp.
Suetin and survived the Stalin era and the leader himself. He was the chief artist of the Soviet pavilion at the World Exhibition of 1937 in Paris and 1939 in New York. In 1948th it for some reason (or for no reason) was excluded from the lists for "Leningrad affair" - the machine of repression has been deprived of the sequence, making it even more frightening. From 1944 to 1949 he was the chief designer of the Museum of Defense of Leningrad and the rest of his life in the 1954th headed the creative team of the porcelain factory.
Malevich is no less great, because come to the forefront of his contemporaries and associates. They actually do not go, changing the lighting and our assessment of the actors. We are aware that the name "artists of the second plan" is given to those who look at the performance of the social pit, and the definition of "Malevich's pupils - both for actors mimansa - we also can not be arranged. Influx. Close-up. Freeze frame.