Suprematism

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"Suprematism is the art of colour", wrote Kazimir Malevich. These are the colours of light in space as seen by the eye. Hence, they are arranged according to the laws of the prismatic spectrum, as in Impressionism. Red, orange, yellow are found at the light end of the spectrum and in light. Green, blue and violet are found at the dark end of the spectrum and in shadow. As colours appear between light and dark, these two phenomena are represented by white and black in Suprematist paintings. The ground of Malevich's Suprematist paintings is white because it is a field of light. His students such as Ilya Chasnik and Nikolai Suetin often began with a field of darkness – a black ground – out of which coloured forms appeared. Of Malevich's fellow-Suprematists there were Ivan Kliun, Olga Rozanova, Mikhail Menkov, and Ivan Puni with whom he first showed Suprematist paintings in 1915 at the Last Futurist Exhibition of Paintings 0.10, Petrograd. Most of the Non-Objective painters also went through a Suprematist phase in their work. Around 1918, Malevich began to reinterpret Suprematism, seeing its stages as vehicles of states of consciousness. He described this as 5 "phases": the Static Sensation, the Dynamic Sensation, the Magnetic Sensation, the Sensation of Non-Existence, and the Sensation of Absolute Non-Objectivity. 1915 to mid-1920s. (Source)

Works[edit]

Kazimir Malevich[edit]

  • A section of works by Malevich displayed at 0.10, showing 21 of the 39 paintings listed in the catalogue.

  • Chernyy suprematicheskiy kvadrat [Черный супрематический квадрат; Black Suprematic Square], 1915. Oil on canvas. 79,5 х 79,5 cm. Tretyakov.

  • Chernye krestoobraznye ploskosti [Cross (Black)], 1915. Oil on canvas. 80 x 80 cm. Pompidou.

  • Black and White. Suprematist Composition, 1915. Oil on canvas. 80 x 80 cm. Moderna Museet.

  • Suprematizm: Aeroplan letit [Suprematist Composition: Airplane Flying], 1915. Oil on canvas. 58.1 x 48.3 cm. MoMA.

  • Zhivopisnyi realizm mal'chika s rantsem--krasochnye massy v 4-m izmerenii [Painterly Realism of a Boy with a Knapsack Color Masses in the Fourth Dimension], 1915. Oil on canvas. 71.1 x 44.5 cm. MoMA.

  • Suprematizm (Avtoportret v dvukh izmereniiakh [Suprematism (Self-Portrait in Two Dimensions)], 1915. Oil on canvas. 80 x 62 cm. Stedelijk.

  • Suprematicheskaia kompozitsiia [Suprematist Composition (With Eight Rectangles)], 1915. Oil on canvas. 57,5 x 48,5 cm. Stedelijk.

  • Zhivopisnye massy v dvizhenii [Painterly Masses in Motion], 1915. Oil on canvas. 101,5 x 62 cm. Stedelijk.

  • Zhivopisnyi realizm futbolista krasochnye massy v 4-m izmerenii [Painterly Realism of a Football Player - Color Masses in the 4th Dimension], summer/fall 1915. Oil on canvas. 71 x 44.5 cm (original); 70.2 x 44.1 cm (present). Artic.

  • Suprematism, 18th Construction, 1915. Oil on canvas. 53,3 x 53,3 cm.

  • Stroyuschiysya dom [House under Construction], 1915-16. Oil on canvas. 97 cm x 44,5 cm. NGA Canberra.

  • Dynamic Suprematism, 1915-16. Oil paint on canvas. Support: 80,3 x 80 cm, frame: 101,5 x 101,5 x 8 cm. Tate.

  • Untitled (Compact Magnetic Cluster), 1916. Oil on canvas. 53 x 53 cm. Guggenheim.

  • Croix noire et rouge en vol, 1916. Oil on canvas.

  • Suprematism, 1915-16. Oil on canvas. 87.5 x 72 cm. Russian State M.

  • Suprematist Painting, 1916-17. Oil on canvas. 97.8 x 66.4 cm. MoMA.

  • Suprematist Painting (Yellow Plane in Dissolution), 1917-18. Oil on canvas. 106.5 x 70.5 cm. Stedelijk.

  • Suprematicheskaia kompozitsia: beloe na belom [Suprematist Composition: White on White], 1918. Oil on canvas. 79.4 x 79.4 cm. MoMA.

  • Suprematia of the Spirit, 1920. Oil on canvas. Stedelijk.

  • Hieratic Suprematist Cross (Large Cross in Black Over Red on White), 1920-21. Stedelijk.

  • Mystic Suprematism (Black Cross on Red Oval), 1920-22. Oil on canvas. 100,2 x 59,2 cm.

  • Mystic Suprematism (Red Cross on Black Circle), 1920-22. Stedelijk.

  • Black Square, c1923. Oil on canvas. 106 x 106 cm. State Russian M.

  • Black Square, 1923-30. Oil on plaster. 36,7 x 36,7 x 9,2 cm. Pompidou.

  • Arkhitekton Alpha [Alpha Architecton], 1923. Plaster and glass. 33 x 37 x 84.5 cm. Architekton reconstituted by Poul Pedersen in 1978. Pompidou. [1]

  • Arkhitekton Gota [Gota Architecton], 1923. Plaster. 85,3 x 56 x 52,5 cm. Russian State M. Pompidou (1978). MoMA (photo c1936). [2]

  • Arkhitekton Gota 2-a [Gota Architecton 2-a], 1923-27. Plaster. 57 x 26 x 36 cm. Architekton reconstituted by Poul Pedersen in 1978. Pompidou. [3]

  • Arkhitekton Zeta [Zeta Architecton], 1923-27. Plaster. 79,4 x 56,7 x 71,4 cm. Architekton reconstituted by Poul Pedersen in 1978. Pompidou. [4]

  • Arkhitekton Beta [Beta Architecton], 1926. Plaster. 27,3 x 59,5 x 99,3 cm. Architekton reconstituted by Poul Pedersen in 1978. Pompidou. [5]

  • Installation of Malevich's paintings at the Grosse Berliner Kunstausstellung, Berlin, 1927.

Writings[edit]

  • Kazimir Malevich, "Suprematizm", in X Gosudarstvennaya vystavka. Bespredmetnoe tvorchestvo i suprematizm, Moscow, 1919. (Russian)
  • Kazimir Malevich, Die gegenstandslose Welt, Munich: A. Langen [Bauhausbuch 11), 1927, 104 pp; new ed., exp., Mainz: Florian Kupferberg, 1980. Russian original written in 1923. (German)

Literature[edit]

  • Larissa A. Schadowa, Suche und Experiment: aus der Geschichte der russischen und sowjetischen Kunst zwischen 1910 und 1930, trans. Helmut Barth, Dresden: Verlag der Kunst, 1978, 371 pp. (German)
    • L. Zhadova, Malevich: Suprematism and Revolution in Russian Art, 1910–1930, trans. Alexander Lieven, London: Thames and Hudson, 1982, 371 pp. (English)
  • Charlotte Douglas, Swans of Other Worlds: Kazimir Malevich and The Origins of Abstraction in Russia, Ann Arbor, MI: UMI Research Press, 1980, xii+147 pp. (English)
  • Aaron Scharf, "Suprematism" [1966], in Concepts of Modern Art, 3rd ed., ed. Nikos Stangos, Thames & Hudson, 1994. (English)
  • S.O. Khan-Magomedov (С.О. Хан-Магомедов), Suprematizm i arkhitektura (problemy formoobrazovaniya) [Супрематизм и архитектура (проблемы формообразования)], Moscow: Arkhitektura-S, 2007, 520 pp. [7] (Russian)
  • Aleksandra Shatskikh (Александра Шатских), Kazimir Malevich i obshchestvo Supremus [Казимир Малевич и общество Супремус], Moscow: Tri kvadrata, 2009, 464 pp. (Russian)
  • Aleksandra Shatskikh, Black Square: Malevich and the Origin of Suprematism, Yale University Press, 2012, 320 pp. (English)
  • Christina Lodder, Celebrating Suprematism: New Approaches to the Art of Kazimir Malevich, Leiden: Brill, 2018. (English)

For more see literature on Malevich.

See also[edit]

Links[edit]


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