Πίνακας Ι. Αναφορικά με το πρόβλημα της σύνθεσης: Κατασκευή σύμφωνα με διακοσμητικές και οργανικές αρχές

Executed in pencil and ink, the drawing employs precise, minimalist lines to isolate geometric shapes—circles, squares, and rectangles—against neutral backgrounds. Subtle variations in tone and density, possibly through hatching or stippling, modulate visual weight without introducing narrative. The style is analytical, prioritizing structural clarity over expressive gesture.

Created during Kliun’s active years in the Russian avant-garde circles of the 1910s and 1920s, the drawing emerged from his participation in art pedagogical experiments at institutions like INHUK. It was likely used as a teaching aid or reference for students grappling with Suprematist principles, though its exact provenance prior to institutional acquisition remains undocumented.

Kliun’s work aligns with broader efforts by Russian artists to systematize abstraction beyond Malevich’s foundational forms. While Suprematism emphasized pure feeling through geometry, Kliun focused on the internal logic of composition—how color and shape mutually define each other. His drawings served as bridges between theory and practice in experimental art schools.

Though less widely known than his contemporaries, Kliun’s studies contributed to the codification of abstract principles in early Soviet art education. This drawing remains a key document for understanding how Suprematist ideas were tested, refined, and transmitted through pedagogical practice, influencing later generations’ approaches to non-representational composition.