Suetin N. M. Suprematism. Drawing for the 1924 exhibition.

Suetin N. M. Suprematism. Drawing for the 1924 exhibition.
Composition on the packing carton. Lettering and markings on the back. The sheet size is 28.5 x 33 cm.

Nikolai Mikhailovich Suetin (1897-1954) — Russian Soviet artist, master of design, graphics and painting, representative of the avant-garde in its Suprematist version, reformer of Russian porcelain.

He was born in the village of Myatlevskaya (Kaluga province) on October 25 (November 6), 1897, in the family of a railway station Manager. In the 1900s-1910s, he studied at the gymnasium in Kaluga, then in the cadet corps in St. Petersburg. In 1914 he was mobilized, in 1915 he served in the Caucasus, then was transferred to Vitebsk.

In (1918-1922) studied in WNHU in Vitebsk from Kazimir Malevich. Since 1920-member of the UNOVIS group (Affirmers of new art, 1920-1922). He participated in exhibitions of UNOVIS (1920-1921) in Vitebsk and in Moscow (1921-1922). Works of this time: "GAZ", "Hydrogen", 1921-1922. Participated in the work on the festive decoration of the city, created projects of signage, design of cafes, canteens, shops.

In 1922, together with K. S. Malevich, he moved to Petrograd. In 1923, his works appeared at the all-Russian art and industrial exhibition in Moscow and the " Exhibition of paintings by Petrograd artists of all directions. 1918-1923" in Petrograd (as part of the UNOVIS group).

In 1923-1926, he participated in the MHC and Ginhuk. In 1925, he headed the Department of material culture of Ginhuk. He developed Suprematism and analyzed new art forms. In 1925-26, he also worked in the experimental laboratory of the Decorative Institute (sketches of drawings for fabrics, exhibition design, advertising), developing a design based on the method of Suprematism.

N. M. Suetin is considered one of the most consistent students of K. S. Malevich. Suetin conceptualized his non-objective compositions as the basis for a universal transformation of the forms surrounding a person. His models- "architectons", the development of a special" Suprematist order " in architecture remained unrealized, only in a very modified form transformed into real buildings.

In the late 1920s, following Malevich, he moved from the pure geometry of Suprematism to "metaphysical" figurative images. In the easel works of Suetin in the late 1920s and early 1930s appeared "peasant cycles" ("Pskov cycle", 1929, graphic series of the late 1920s — early 1930s: "Peasant women", "half-Images" (or Images of the virgin), "Sheaves", "Children of wisdom". Paintings — "Woman with a saw" (1927-1928), " Man "(1932, GTG), " Male portrait " (1932-1933, GTG). Suetin's paintings were included in the exhibitions "Artists of the RSFSR for 15 years" in Leningrad (1932) and Moscow (1933).

In 1935, along with K. Rozhdestvensky participated in the" Suprematist rite " of K. S. Malevich's funeral. Performed a Suprematist sarcophagus-Architecton, using black, white and green colors. He was the performer of the monument in the form of a cube with a square, placed on the grave of K. S. Malevich in the Moscow region, in Nemchinovka (not preserved).

In 1937, during the reign of socialist realism, he found creative outlet in architectural and design works: he designed (with co-authors) the interiors of the USSR pavilion at the International exhibition "Art and technology in modern life" in Paris (1937, architect B. M. Iofan), which received the Grand Prix of the exhibition.

In 1939, he designed the USSR pavilion at the world exhibition "the World of tomorrow" in new York.

In 1941, he participated in the design of the exhibition for the 100th anniversary of the death of Mikhail Lermontov, but the exhibition did not take place, as the war began.

In 1941-1944. Suetin was in the besieged Leningrad.

Since 1942, Suetin's design has turned to the classical tradition. In 1942, he designed (?) stylized antique decoration of the tombstone of A.V. Suvorov in the Trinity Cathedral (or rather, in the Annunciation Church) of the Alexander Nevsky Lavra.

In 1943-1944, he designed the exhibition "Heroic defense of Leningrad" (1944), which became the basis Of the Museum of heroic defense of Leningrad (closed in 1949).

He was married to the artist Anna Alexandrovna Leporskaya.

He died in Leningrad on February 22, 1954, and was buried at the Bogoslovskoe cemetery.