Born Kaluga, 1896; died Moscow, 1972.
From 1913 to 1917 Kudriashev attended the Moscow Institute of Painting, Sculpture, and Architecture, and from 1918 to 1919 studied with Kazimir Malevich at the SVOMAS [Free State Art Studios]; there he met Ivan Kliun, Antoine Pevsner, and Naum Gabo. From 1918 on, under the influence of the ideas of the space scientist Konstantin Tsiolkovskii (conveyed to Kudriashev by his father, a carpenter who made rockets and other devices for Tsiolkovskii), he turned to the problems of cosmic abstract painting, as filtered through Suprematism. After the Bolsheviks’ revolutionary seizure of power in October 1917, Kudriashev worked for about a year on propaganda designs for automobiles to celebrate the first anniversary of the Revolution.
In 1919, he was sent to Orenburg to establish the SVOMAS. That same year Kudriashev participated in the city’s inaugural State Exhibition, showing sketches for the mural of the First Soviet Theater along with other abstract works. Over the next year he worked on the interior to the Summer Red Army Theater and organized a branch of the UNOVIS group in Orenburg.
Kudriashev arrived in Smolensk in 1921, while serving as the supervisor of a train for the evacuation of starving children. There he met Katarzyna Kobro and Wladyslaw Strzeminski, two Polish followers of Malevich. Later on Kudriashev returned to Moscow, and from late 1921 onward worked as a designer. In 1922 he sent work to the “Erste russische Kunstausstellung” (First Russian Art Exhibition) at the Galerie van Diemen in Berlin. Between 1925 to 1928 his abstract works were displayed at the first, second, and fourth OST exhibitions.
After 1928, Kudriashev stopped exhibiting in the Soviet Union.
Ivan Kudriashev is one of the lesser-known painters of the Soviet avant-garde. Not for lack of talent, however. Brilliant, brooding, and celestially driven, Kudriashev was often given to interstellar flights of the imagination. He dreamed of nighttime passages between the Earth and other planets. This of course reflected the gravitational pull of Tsiolkovskii’s cosmism, which always held extraterrestrial ambitions.
Many of his darker paintings from the 1920s convey this sense of cosmic loneliness — that of a solitary mind launched and set adrift in a cold vessel, wandering through the black expanse of space. Kudriashev’s career was brief, but blazed a path fed by rocket-fuel. Continue reading