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Suprematism

Not to be confused with supremacism.
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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