Cubist Landscape (1912) was inspired by a trip that Diego Rivera made to Spain on 1911, where he encountered the olive trees of Catalonia. The serrated blue ridge in the painting evokes Montserrat, a mountain in the region. The work exemplifies the idiosyncratic approach to Cubism that Rivera developed in the 1910s, when he lived in Paris. He saw these early works, which combine a sun-drenched palette with kaleidoscopic planes and abstract patterning, as a way of beginning to forge a specifically Mexican modernism. “My Cubist paintings,” he said, “are my most Mexican.”
Photographed in the Museum of Modern Art in New York City.
This work, Cubist Landscape (1919) by Marc Chagall (1887 – 1985) illustrates the artist’s relationship to the Suprematist avant-garde at the time. Its disjointed geometrical shapes and use of heterogenous materials to create texture originated in Cubo-Futurism. One of the steps leading to Suprematism according to Kazimir Malevich’s theory of art, this style privileged movement, fragmented forms and bold colors. In the composition, geometric forms overtake a figure carrying an umbrella in front of Vitebsk School — perhaps a stand-in for the artist, protecting himself from the Suprematist storm. To the left of this figure, in a scene typical of Chagall’s shtetls (a small town with a large Jewish populations), a man with a goat makes a faint appearance. The artist repeats this name endlessly across the canvas, humorously illustrating the gulf between his painterly poetics and the stark Suprematist creations of his rival Malevich, who advocated collective art.
Photographed as Part of the Exhibit Chagall, Lissitzky, Malevich: The Russian Avant-Garde in Vitebsk, 1918-1922, On View Through January 6th, 2019, at the Jewish Museum in Manhattan.