Abstract
Abstract This essay focuses on Paul Cezanne’s painting Madame Cezanne in a Yellow Chair, situating it within Kazimir Malevich’s theory and practices, and tracing how this work became emblematic in Malevich’s teachings on modern art. Cezanne’s painting represents two intersecting stories: one pertaining to the introduction of modernism in Russia, and the other relating to Malevich’s theory of the additional element in painting. Ultimately, the essay aims to show how this particular work brings these two narratives together, shedding light on the role of form, color, and texture in Cezanne’s work and their influence on Malevich’s Suprem-atism.
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