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Modern and Contemporary Art
Artist: Kasimir Malevich, Russian, 1878–1935
Tochil’schik Printsip Mel’kaniia (The Knife Grinder or Principle of Glittering)
Oil on canvas
79.5 x 79.5 cm (31 5/16 x 31 5/16 in.)
Gift of Collection Société Anonyme
“Art Exhibitions of the Week: Suprematism,” New York Times (February 24, 1924), 10.
“Notes and Activities in the World of Art,” New York Herald (February 17, 1924).
“Art in the News,” Springfield Daily News (November 16, 1939), 7.
Collection of the Société Anonyme: Museum of Modern Art 1920 (New Haven, Conn.: Yale University Art Gallery, 1950), 37-38, ill.
The Classic Tradition in Contemporary Art, exh. cat. (Minneapolis: Walker Art Center, 1953), 49, no. 73.
Robert Rosenblum, Cubism and Twentieth-Century Art (New York: Harry N. Abrams, Inc., 1960), 228, ill.
“Commentary from Houston and New York,” Studio International 171 (January 1966): 41, ill.
Maurizio Calvezi, “Il Futurismo Russo,” L’Arte Moderna 5 (1967): 3045, ill.
Plus by Minus: Today’s Half-Century, exh. cat. (Buffalo: Albright-Knox Art Gallery, 1968), no. 100.
Pontus Hulten, The Machine as Seen at the End of the Mechanical Age, exh. cat. (New York: Museum of Modern Art, 1968), 69, ill.
“Today’s Half-Century in Buffalo: Pure Abstraction from Malevich to Mondrian,” Arts Magazine 42 (March 1968): 4344, ill.
Kasimir Malevic, exh. cat. (Milan: Galleria Breton, 1971), 28.
Douglas Cooper, ed., The Cubist Epoch, exh. cat. (New York: Los Angeles County Museum of Art, 1971), 161, 298, pl. 165, ill.
Diane Waldman, “Kasimir Malevich: The Supremacy of Pure Feeling,” Arts Magazine 48 (December 1973): 26, ill.
John E. Bowlt, “The Semaphors of Suprematism: Malevich’s Journey into the Non-Objective World,” Art News (December 1973): 1920.
Max Kozloff, “Malevich as a Counter-Revolutionary (East and West),” Artforum 12 (January 1974): 37, ill.
Donald Judd, “Malevich: Independent Form, Color, Surface,” Art in America 62 (MarchApril 1974): 5253.
William S. Lieberman, ed., Modern Masters: Manet to Matisse, exh. cat. (New York: Museum of Modern Art, 1975), 265.
John Golding, “The Black Square,” Studio International 189, no. 974 (MarchApril 1975): 86106.
W. Sherwin Simmons, “Kasimir Malevich’s ‘Black Square,’ the Transformed Self: Cubism and the Illusionistic Portrait,” Arts Magazine 53 (October 1976): 11625, ill.
Eleanora Bairate, La Belle Epoque: Fifteen Euphoric Years of European History (New York: Harper-Collins, 1978), 226, ill.
Robert McHughes, Shock of the New (New York: Random House, 1981), 57, ill.
Alan Shestack, ed., Yale University Art Gallery Selections (New Haven, Conn.: Yale University Art Gallery, 1983), 7475, ill.
Robert L. Herbert, Eleanor S. Apter, and Elise K. Kenney, The Société Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonné (New Haven, Conn.: Yale University Press, 1984), 429, no. 443, ill.
Ruth L. Bohan et al., The Société Anonyme: Modernism for America, ed. Jennifer Gross, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2006), 54, 178, fig. 11.
Richard Meyer, “ ‘Big, Middle-Class Modernism’,” October 131 (Winter 2010): 71, 1058, ill.
Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.