In his time Meyerhold confessed that in his theatre he missed the subtle crackling of the the cinematograph. The delight of the newest form of entertainment, the noise that created sense of Time. Marina Fedorova's paintings are enveloped in this sound. She was able to bring the sense of movement into the art that is strictly spatial. The painter's works plunge the viewers into the atmosphere of French Cinemateque of Henri Langlois: the rattle of a motion-picture apparatus counting moments, black and white films, the first row is occupied by the “masonic lodge of cinephiles” - nuzzling into the screen trying to absorb the images while they still have their primordial freshness.

I was immediately drawn to Marina Sailer’s paintings, sensed an obvious affinity to them which is difficult to describe. It is anyway pointless to try and explain art: one either feels struck by it or not. During my art history studies many of my fellow stu- dents or professors seemed to me like people stand- ing in front of the wall of a enchanted park, intent in sizing up its bricks without casting a single glance over the wall into the park beyond.

There is indeed useful information around for deepen- ing the appreciation of art: who was the artist, who commissioned the artwork, how long did it take to complete the work, which tradition does it follow, which mythological characters are portrayed. All of this, however, in my opinion only helps us su- perficially. When viewing a painting pure knowledge cannot replace true inter-est (literally: to be therein) or real delight. This applies particularly to Sailer’s paintings which give me pleasure because I, like she, am a dream-struck, talented child.

Cinematograph had not gone through foundation stage and had not domesticated all the means of artistic expressiveness yet when the vanguard art was in blossom. Till today the heritage of suprematism was not grasped on the field of cinema. And now when cinematograph is formed and studied it becomes possible to transfer the principles of suprematism to this kind of art. So this theoretical work is intended to fill this gap. The very father of suprematism K. Malevich dreamed to shoot a suprematic film but unfortunately his plans were not realized and did not reach us. With the help of theory we can make this vanguard experiment, taking into account the suprematism concept and specific features of cinematograph.

The birth of suprematism is one of the most significant occasions in history of vanguard art. “The black square” captured minds of its contemporaries and continues to charm us till this moment by its unrepeatable categorical reticence, but one can hardly find anything more eloquent. It is studied by numerous arts critics and historians of art that the importance of this masterpiece can not be overestimated. That, at the first look, simplest performance was prepared by hard work of the painter. Malevich went through the phases of vanguard movement from impressionism to cubism and finally came to the absolutized principles of pure art, he came to abstruse realism.

Pictures of Rusudan Kenanishvilia, also known as Dusuna, are marked by rich figurative language, picturesqueness and outstanding temperament. The basis of the artist's handwriting is the harmonious combination of professionalism and free interpretation of the motives of folk art and artistic currents of the 1920's. These are sources of subjects, images and some compositional elements. Together with the individual artistic achievements, amazingly sincere perception of reality and special author's technique, these features allow us to estimate Rusudan Kenanishvili as a bright creative figure.