Those features of his art would subsequently become important in Berlin, where Puni and his wife moved to in autumn 1920 due to the deteriorating political situation in the budding USSR. At the same time, Puni had been putting to the test the Suprematist definition of the traditional representational still life. Until 1919, he himself presented ground-breaking Cubo-Futurist works (notably Window Cleaning, 1915), and above all elaborated a Suprematist redefinition of the object and the letter (based on the Russian concepts of zaum and faktura). Petersburg (between 19) and co-signed the Suprematist Manifesto (1915) together with Kazimir Malevich. Puni organized the two Futurist exhibits in St. However, starting from 1915, the artist became a major representative of the Russian avant-garde movement, also known as the Russian Futurist style. Puni first elaborated works akin to Cubist constructions. In this time span, Ivan Puni demonstrated his ability to adopt a wide gamut of diverse artistic styles. The thesis begins with a close analysis of Puni's Russian period (1914-1919). This thesis presents an account of the artist's Berlin period (1920-1924), which has so far lacked scholarly attention. This thesis is dedicated to the work of the Russian Avant-Garde artist Ivan Albertovich Puni (1892-1956): an artist, a theorist and writer, an organizer of exhibition, a teacher of art, and above all, an innovator.
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