The Tate Modern plays host to a proponent of one of the most spellbinding movements in the last century in this exhibition of Kazimir Malevich's work.
It showcases his iconic Black Square, the Suprematism approach that he advocated and the life and work of a man yearning for the innovative, whether in ideas or art, while coinciding with one of the biggest events of the Twentieth century.
Born in Kiev in 1879, Malevich studied the work of Monet, Picasso and Matisse and produced his own impressionist pieces.
But reproduction works were not to satisfy his hunger for the modern world and the emerging sense of impending change on the horizon.
Capturing the soul of the Russian people with work such as The Scyther (1912), his experimentation within the Futurism of his own nation seemed to run parallel with the revolutionary forces that would eventually topple their own Royal Family.
However, though declaring the end of painting and even abandoning it at one stage, Malevich's idealism was never quite to be realised.
His hopes for the future of his country were cut down by the reality of a new administration governing and providing for a land at crisis point.
He was deemed to be a product of a school of art and thought that was too far removed from the people - as a result he was shoved to the periphery.
Socialist realism was to be the official art style of the Soviet Union and perhaps it was Malevich's own select vision of the new world that would betray his naivety.
Though beckoning the modern and seeking a new path ahead, Malevich and many of his contemporaries would eventually be unable to grasp the realities that the Soviet Union had to face after the revolution.
Just to contrast Malevich's vision and then that of the Bolsheviks is enough reason to see this exhibition. Art may nourish a soul or provide the ideas that can give succour to a revolution but it's the people who shall change it and that may not always please the artists of the world.