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Suprematism information


Suprematist art
Kazimir Malevich's Suprematism, 1916–17, Krasnodar Museum of Art
LocationRussian Empire
Soviet Union
Major figuresKazimir Malevich
InfluencesCubism, Futurism, P. D. Ouspensky
InfluencedBauhaus and De Stijl

Suprematism (Russian: супремати́зм) is an early twentieth-century art movement focused on the fundamentals of geometry (circles, squares, rectangles), painted in a limited range of colors. The term suprematism refers to an abstract art based upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects.[1]

Founded by Russian artist Kazimir Malevich in 1913,[2] Supremus (Russian: Супремус) conceived of the artist as liberated from everything that pre-determined the ideal structure of life and art.[3] Projecting that vision onto Cubism, which Malevich admired for its ability to deconstruct art, and in the process change its reference points of art,[4] he led a group of Russian avant-garde artists—including Aleksandra Ekster,[5] Liubov Popova, Olga Rozanova, Ivan Kliun, Ivan Puni, Nadezhda Udaltsova, Nina Genke-Meller, Ksenia Boguslavskaya and others[6]—in what's been described as the first attempt to independently found a Russian avant-garde movement, seceding from the trajectory of prior Russian art history.[4]

To support the movement, Malevich established the journal Supremus (initially titled Nul or Nothing), which received contributions from artists and philosophers.[7] The publication, however, never took off and its first issue was never distributed due to the Russian Revolution.[7] The movement itself, however, was announced in Malevich's 1915 Last Futurist Exhibition of Paintings 0,10, in St. Petersburg, where he, and several others in his group, exhibited 36 works in a similar style.[8]

  1. ^ Malevich, Kazimir (1927). The Non-Objective World. Munich.{{cite book}}: CS1 maint: location missing publisher (link)
  2. ^ Tate. "Suprematism – Art Term". Tate. Retrieved 2021-11-09.
  3. ^ Potter, Polyxeni and Centers for Disease Control and Prevention (2013). Art in Science: Selections from EMERGING INFECTIOUS DISEASES. New York: Oxford University Press. ISBN 978-0-19-931571-0.
  4. ^ a b Gourianova, Nina; Гурьянова, Н. А. (2012). The aesthetics of anarchy: art and ideology in the early Ukrainian avant-garde. Berkeley: University of California Press. ISBN 978-0-520-26876-0. OCLC 748941743.
  5. ^ Hodge, Susie (2019). I know an artist : the inspiring connections between the world's greatest artists. Sarah Papworth. London. ISBN 978-1-78131-844-7. OCLC 1090652528.{{cite book}}: CS1 maint: location missing publisher (link)
  6. ^ Boersma, Linda S. (1994). 0,10 : the last futurist exhibition of painting. Rotterdam: 010 Publishers. ISBN 90-6450-135-1. OCLC 33984058.
  7. ^ a b Souter, Gerry (2012). Malevich : journey to infinity. New York: Parkstone International. ISBN 978-1-78042-926-7. OCLC 793511481.
  8. ^ Honour, H. and Fleming, J. (2009) A World History of Art. 7th edn. London: Laurence King Publishing, pp. 793–795. ISBN 978-1-85669-584-8

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