"The hooligans were outraged by the big black ones." Excerpt from the book "Man Cannot Live Without a Miracle"

Ad Marginem Press has published Varvara Stepanova's book "A Man Cannot Live Without a Miracle." The collection was compiled by Alexander and Ekaterina Lavrentyev. This unique collection includes poems, letters, reports, articles, sketches, and diary entries by the famous avant-garde artist and designer. The book is an important contribution to the study of Stepanova's work and her influence on 20th-century art.

The text mentions prominent figures in the arts and literature of the time, such as Wassily Kandinsky, Kazimir Malevich, Vladimir Mayakovsky, Osip and Lilya Brik, Vladimir Tatlin, as well as Varvara Stepanova's husband, Alexander Rodchenko, a renowned graphic artist, painter, and photographer. These figures left a significant mark on the history of art and culture, and their work continues to inspire many contemporary artists and writers.

With permission from the publisher, we present an excerpt from the book—Stepanova's diary entries, in which she shares her impressions of the "Non-Objective Artists and Suprematists" exhibition. In this work, the author analyzes the significance of the exhibition, its influence on the development of avant-garde art, and personal experiences associated with the works on display. These entries serve as valuable evidence of the time and context in which these outstanding artists worked.

The "Non-Objective Artists and Suprematists" exhibition is nearing completion; all that remains is to install the stands for Anti's sculptures. This exhibition represents a rivalry between Anti and Malevich, while the other participants are of little significance. Malevich presented five white canvases, while Anti exhibited black ones. It is worth noting that Malevich did not break any new ground: his white square on a white canvas is not a real painting, but simply a painted square. In contrast, Anti surpasses Malevich in both painting and texture. Although Anti was unable to completely surpass Malevich, he has become a significant figure with whom his competitors will have to work hard to compete. Anti has presented unique works of art that attract the attention of seekers of true art. His black works are distinguished by the absence of bright colors, which gives them special strength and expressiveness. These works do not distract the viewer with extraneous elements, focusing attention solely on the painting itself. Anti's works, especially his "Blacks", have become a real event in the art world. They demonstrate new approaches to texture, representing a step forward in the development of painting after Suprematism. Moreover, these paintings are an example of professional mastery, combining painting and texture into a single whole, and illustrate a new direction in easel painting.

Alexander Rodchenko, "Black on Black", 1918 Image: The Museum of Modern Art

The exit from color Suprematism is manifested in the destruction of the square and the transition to new forms. This is a deepening of painting within itself, where the emphasis is on professionalism and unique texture. This is not a matter of simply painting surfaces with a single color, the most thankless of all—black. The texture of Anti's works in the "Blacks" series is striking in its unusualness. Achieving that a canvas painted exclusively in black becomes a highly artistic work is a true artistic achievement.

It is interesting to note that the texture in his other works is also captivating, but it does not have the same impact on the viewer as in "Blacks," which lacks distracting elements. In this series, only the painting is present, allowing the texture to reveal itself in its fullness. It creates the impression that the work is made from a variety of different materials. Shiny, matte, rough, and smooth surfaces create a striking composition, where texture is so powerfully expressed that it rivals color in expressiveness. Easel paintings such as "Blacks" lack a decorative function. Here, the painting acts as an end in itself, representing the artist's highest form of creative expression. These works reveal the artist's will, free from the influence of extraneous elements, allowing for the achievement of a sincere artistic result. Anti's "Blacks" series reflects the Western dream of true easel art, perfected to perfection. In his analytical work, the "black" paintings represent a synthesis of previous stages, but at the same time, they lay the foundation for a new painting, genuine and original. This idea began to take shape as early as 1913, but has only now been realized thanks to Anti. Today, it can be confidently said that painting is moving along its own unique path, and Anti's works are opening new horizons for pictorial realism.

At an exhibition, their works are much more impressive than in a home setting. Anti is absolutely right in asserting that he does not display his works in his studio. This emphasizes the uniqueness and power of his creativity, which is revealed only in a professional exhibition setting.

Drevin and Udaltsova, having studied Anti's works, came to the conclusion that they now have a clear idea of their next steps. Clearly, an analyst such as Anti must carefully consider his achievements and not reveal them until the final work is completed. In the context of this exhibition, it can be argued that Anti was in a hurry to present his works. They should have been completed before the fall to achieve an ideal synthesis and present all the works in a single, perfect form.

Modern living conditions, in which half-educated "imagists" lay claim to innovation, force us to highlight and showcase true art. It's important to understand that true creativity requires deep knowledge and skill, not a superficial approach. In a competitive environment, it's crucial to clearly distinguish between true artistic values and fleeting trends, which fosters the development of quality art. Anti has had a significant impact on our work, changing our approaches and methods for completing tasks. Its implementation has brought new ideas and innovations, making our process more efficient. Analyzing the impact of Anti, we can identify key aspects that have contributed to improved quality and effectiveness. We strive to integrate these principles into our daily practice to achieve better results and meet the needs of our clients.

Nadezhda Andreyevna clearly understood the essence of Anti Udaltsov's works and did not hide her admiration, especially impressed by the texture of the pieces. She herself, it seems, did not expect Anti to create such powerful paintings. Pestel, although trying to remain calm, could not contain her delight when she saw how highly she valued Anti's work. In the end, she, too, was impressed and could not help but express her emotions.

Drevin arrived and at first did not understand what was happening. He simply smiled and said: "One is white, the other is black." It seems he decided that Anti, having learned about Malevich's white works, created black ones. However, when N.A. explained the essence to him, his mood sharply worsened, and he became sullen.

Among all the participants, only Udaltsova demonstrated the ability to independently understand the situation, while the others did not have sufficient knowledge. Her interest was so great that she not only touched the work but also asked to remove the top layer to better understand the material.

Popova noted that she had many positive impressions of Rodchenko's work, but she also expressed disagreement with a number of his ideas and approaches.

Anti's work impressed Bekhteyev, although he admits that he does not fully understand their essence. Nevertheless, when the conversation turned to criticism of contemporary art, he, pointing to Anti's works, noted: "I would still defend this art, even if it meant paying a high price."

Now let's talk about Kazimir Malevich. He is one of the most influential artists of the 20th century and the founder of Suprematism, an art movement focused on abstraction and geometric forms. Malevich sought to express pure emotions and ideas through simple forms and colors, which was a revolutionary approach for its time. His famous work, "Black Square," symbolizes the rejection of traditional art and opens a new path for contemporary art. Malevich's influence is still felt today, and his ideas continue to inspire artists around the world. Studying Malevich's legacy is important for understanding the development of art and its role in 20th-century culture.

He created a white square and a white bell, with the background designated as "dosekine" and the square as "lefranc." This is the essence of his work.

Malevich liked "Gly-gly" and the poems, and he invites Anti to perform together.

Anti again had a long conversation with Malevich, explaining to him that his best works were inspired by deep philosophy.

On April 27, 1919, a historic event took place: the opening of the world's first exhibition of "Non-Objective Art and Suprematism." This important cultural event became a landmark in the development of avant-garde art, emphasizing the significance of new artistic movements that rejected traditional forms and focused on pure colors and geometric shapes. The exhibition drew attention to Suprematism, developed by Kazimir Malevich, and opened new horizons for artists seeking to explore abstraction and expressiveness without a figurative basis. This event became a starting point for subsequent experiments in art and influenced the direction of development of modern art as a whole.

The only acceptable compromise is Suprematism, but it would be preferable to abandon it completely and focus exclusively on non-objective art.

Franchetti and Brik admire Anti. Brik noted that Franchetti said many warm words, and this deeply touched him. He also added that Malevich passed away before Rodchenko.

Brik showed special attention to the exhibition, despite his busy schedule that day. He came and was amazed by the works of the "Blacks", which made a deep impression on him.

On September 15, 1919, the apartment moved to a new apartment located on the corner of Dolgiy and 3rd Neopalimovsky Lane, building 8/11, apartment 25. This transition was an important event, reflecting changes in the lives of the residents and their desire for new living conditions.

Continuing the broken thread from April of last year is extremely difficult. This period became a test that changed many aspects of our lives. It is important to realize that despite difficulties, we can learn from the past and move forward, creating new opportunities and restoring lost connections. Overcoming obstacles requires patience and determination, but only then can we build a more sustainable future.

At the "Non-Objective Artists" exhibition, we greeted visitors every Sunday and explained the concept of our works. We immersed them in the world of abstract art, revealing the ideas and emotions behind each display. Each encounter became an opportunity to share a unique vision and help viewers understand how non-objective art can reflect inner experiences and contemporary reality.

Lesser people were less likely to be outraged by the black ones, perceiving them as something abstract. Perhaps they simply did not notice them at all.

Colored circles and ovals aroused more interest and required more detailed explanation.

Hooligans were dissatisfied with large black circles. They sought solace in various colored paints, considering this their justification.

Stepanova's series of collages and illustrations, created for Alexei Kruchenykh's play "Gly-Gly", is a unique artistic project. These graphic sheets are part of a cycle called "color-painted graphics" or "visual poetry". Stepanova's works clearly demonstrate her mastery of combining colors and shapes, which allows for a deeper understanding of the play's content and convey its emotional richness. Collages filled with symbolism and expressive images create a special atmosphere, immersing the viewer in a world of art and literature.

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"The hooligans were outraged by the big black ones." Excerpt from the book "Man Cannot Live Without a Miracle"

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