This painting is a compositional study executed in the distinctive style of Cubism. It features geometrically defined shapes rendered with clear brush strokes. The primary chromatic contrast within the piece emerges from the use of bright hues such as red, blue, and yellow. To frame and accentuate this contrast, there are dark sienna and black elements, particularly towards the edges of the composition, guiding the viewer's gaze towards the more vibrant center.

Details:
Artist: Manner of Ivan Kliun
Title: Cubist Composition Study
Medium: Tempera on paper
Dimensions: 11.5 x 8 in
Condition Report: The painting exhibits signs of aging, with no visible damage to the front. The back of the paper shows foxing and dampening stains.
Signature: Located in the lower right corner

About the artist:
Ivan Kliun (1873-1943) was a notable figure in the Russian avant-garde movements of the early 20th century. He was actively involved in governmental artistic initiatives following the 1917 Russian Revolution. Kliun's artistic journey included studies in Kiev, Warsaw, and Moscow, where he initially showed an interest in Symbolism.

In 1907, Kliun met Kazimir Malevich, and their friendship played a pivotal role in his artistic development. He became a member of the Union of Youth and participated in significant exhibitions, including the last one held under that title in Saint Petersburg in 1913–14. Over time, his work evolved towards forms closely aligned with Cubism and Futurism. Kliun sought to break free from conventional artistic boundaries and experimented with a series of reliefs that blended pictorial and sculptural techniques.

Kliun's creations were prominently featured in key Russian Futurist exhibitions like Tramway V and 0.10. He embraced the Suprematist movement promoted by Malevich from 1915 to 1919, producing Suprematist works characterized by isolated geometric shapes against a white background.

In 1918, Kliun actively participated in decorating Moscow for the first-anniversary celebrations of the Russian Revolution. He also taught at various educational institutions established by the new political authorities, including the Free State Art Workshops (Svomas), later renamed Vkhutemas.

By 1927, Kliun had been appointed director of the central exhibitions office of the Department of Visual Arts of the People’s Commissariat for Enlightenment (IZO-Narkompros). After a period of teaching, public sector work, and artistic experimentation, Kliun shifted his focus towards returning to a purist figurative style.