Date of Award

7-2025

Document Type

Thesis

Degree Name

Master of Fine Arts in Art History and Visual Culture

Department

Art

First Advisor

Nadia Pawelchak McDonald

Second Advisor

Trenton Olsen

Third Advisor

James Hutson

Abstract

Every artistic creation is influenced by the dynamics of its origins and the specific intentions of both the artist and the audience to interact with it in a particular way. In abstract art, human elements may be less apparent than in representational art, where recognizable imagery can be more readily linked to the cultural backdrop of its time. Kazimir Malevich’s body of work can superficially be divided into representational pieces and non-objective works. However, a more nuanced interpretation of his oeuvre is warranted. This is particularly relevant to Malevich’s enduring engagement with the peasant motif and the layers of influence that informed and shaped his relationship to peasant-themed art. By examining the historical context, cultural influences, and personal experiences of the artist, this study emphasizes features of Malevich’s visual lexicon that reflect Ukrainian folk art traditions. Regarding the artist’s contested legacy, this research seeks to emphasize and clarify aspects about his Polish lineage and the significance of his upbringing in numerous villages throughout Ukraine.

Through a comparative analysis of the painting Carpenter II (fig. 3) (1929) with the subsequent peasant cycle II works and the earlier piece Woodcutter (fig. 2) (1912) from the peasant cycle I, I explore the unique characteristics that set Carpenter II apart from both series and delve into the profound meanings that may be embedded within it. Unlike scholars who interpret late peasant works as either generalized or politically subversive types, I argue that Carpenter II represents a more individualized figure. By grounding this research in the artist’s biography, his writings, historical context, and Ukrainian heritage, this study posits that Carpenter II is distinct from the faceless imagery of the second peasant series, serving as a work of personal homage rooted in reverence for the peasantry, rather than based in ideological concerns.

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