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Malevich presented sixteen cubo-futuristic abstruse works then. There were “The Lady at the Poster Pillar”, “An Englishman in Moscow” (both 1914, Stedelic Museum, Amsterdam), “Aviator” (1914, State Russian Museum, St. Petersburg), “Portrait of M. Matyushin”(1913, State Tretyakov Gallery, Moscow). “Composition with Mona Lisa” (1915, State Russian Museum, St. Petersburg) of the Februaryist period was of particular importance for the artist’s work as a whole. It was a step towards Suprematism, it was a bridge between Cubo-Futurism and Suprematism on the way to non-objectivity. The work contained letters, phrases, sound associations between which illustrations were placed, and geometric shapes of different scales of local color formed contrasts.
At the same time, in May 1915 Malevich re-made sketches for a brochure for a futuristic opera. They were done at the request of Matyushin. During the period of work on sketches, the artist experiences a “partial eclipse”. In a letter to Matyushin, speaking about one of the sketches, Malevich writes: “This drawing will be of great importance in painting. What was done unconsciously now bears extraordinary results10
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10
Aleksandra S. Shaktskikh, “Kazimir Malevich” [Kazimir Malevich]. Moscow, SLOVO Publ., 1996, p. 46.