Ivan Vasilievich Klyun (real name Kluenkov; 1 September (20 August) 1873, d. Large Slides, Vladimir Guberniya — 13 Dec 1943, Moscow) — Russian painter and art theorist, master of Russian avant-garde of the first half of the twentieth century.
Born in a family of carpenter in the village of Big Slides in the Vladimir province. In 1881 along with his entire family moved to Ukraine. In 1890 he moved to Poland, which at that time was part of the Russian Empire.
Initial art education has received in Warsaw and Kiev (at the same time served as an accountant) in the 1890s.
In 1898 he moved to Moscow. In the early 1900s he visited the Moscow private Studio of F. I. Rerberg, V. Fischer, and I. I. Mashkov.
The most important moment of his biography was a meeting in 1907 with Kazimir Malevich, who had a tremendous impact on the further development of the artist, introduced him to the artistic circles of the Russian avant-garde. This, however, did not prevent the Bite to become a member of the society "the Moscow salon" in 1910 (in 1916 he left the company), whose tasks were mainly the organization of exhibitions.
In the 1900's, like Malevich, works in the tradition of symbolism and art Nouveau (no doubt the influence of M. A. Vrubel, V. E. Borisov-Musatov, N. D. Miliotti). In 1913 converging (after Malevich) with the St. Petersburg avant-garde in the face of members of the "Union of youth" and is involved in their latest exhibition (1913/1914). Like Malevich, he enjoys at this time, Cubo-futurism, paintings and sculptures (the latter probably under the influence of V. E. Tatlin), is exposed on all avant-garde exhibitions.
In 1915, involved in the creation of the booklet A. Kruchenykh "Secret vices academics" (M., 1916): he owns lithography and the paper "Primitive in the 20th century". Directed against symbolism and decadence, this book is a final tribute Clune futurism. In 1915 as a follower of Suprematism maleficence he participates in "the Last futurist exhibition of paintings 0,10", publishes in its catalog a Manifesto. From this period begins the period of abstract art. In 1916 participates in the group "Supremus" by Malevitch, and the unpublished journal of the same name. Together with other artists-Suprematists collaborates with artisan collectives in the villages of Recruitment and Eunuchs. This period of his work is one of the brightest in his life.
1918−1921 — Professor GShM-higher art, since 1920 — a member of Inhuk (Institute of artistic culture), and from 1921 a member-correspondent of Gahna.
Until the mid-1920s, continuing a period of non — objective art: Klyun creates color designs from geometric shapes. In the second half of the 1920s starts the passion for the French art he copies from magazines of works by Picasso, Braque, J. Gris. But especially it attracts A. Ozanfanom: until the mid-1930s, he creates still lifes in the spirit of purism.
Member of the OST (1925), "4 arts" (1925−1927) and ORS (1927).
At the beginning of the 30s, like most Soviet artists, was forced to go to traditional figurative painting, which brought him success.