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Suprematism

arts Maturity 7-9 Next article →

Suprematism is a radical form of abstract art from the early 20th century. It focuses on the "supremacy of pure artistic feeling." This means the art does not try to show real-life subjects like people or trees. Instead, it relies on the fundamentals of geometry. Artists use shapes like circles, squares, and rectangles. They often work with a very limited range of colors. This movement was a way to liberate art from the structures of everyday life.

To create Suprematist works, artists follow a specific visual "grammar." This grammar is built upon fundamental geometric forms. The square and the circle are the most important elements in this system. Some artists move from using many colors, known as polychrome, to using only one color. This shift is called monochrome Suprematism. A famous example is the painting "White on White." This style can also be applied to other things. It has been used to design theater costumes and even simple objects like a teapot.

Kazimir Malevich founded the movement in 1913. He was a Russian artist who wanted to break away from previous art history. He led a group of Russian avant-garde artists. This group included Aleksandra Ekster, Liubov Popova, and Olga Rozanova. They even tried to start a monthly journal called "Supremus." The journal was meant to discuss painting, music, and literature. However, the Russian Revolution prevented the first issue from ever being distributed.

Malevich found inspiration in several unique places. He designed sets and costumes for a Futurist opera called "Victory Over the Sun." In this production, he used simple materials to create geometric shapes. He also drew influence from the philosopher P. D. Ouspensky. Ouspensky wrote about a "fourth dimension" that exists beyond our ordinary senses. Some Suprematist paintings even used titles that suggested non-Euclidean geometry. These titles described forms that seemed to be in a state of movement through time.

In 1915, the movement was officially announced at a large exhibition. It was called the "Last Futurist Exhibition of Paintings 0,10" in St. Petersburg. Malevich and his group exhibited 36 works in this new style. The centerpiece was the "Black Square." Malevich placed this painting in the "red/beautiful corner" of the room. In Russian Orthodox tradition, this is the special place where a house's main icon is kept. This placement suggested the painting was a major breakthrough for art.

Suprematism is very different from a related movement called Constructivism. Constructivism is concerned with being "utilitarian," which means being useful for practical tasks. Constructivists wanted to turn artists into engineers who could organize life. In contrast, Suprematism is anti-materialist and anti-utilitarian. It does not focus on humanism or placing humans at the center of the universe. Instead, it views the artist as a transmitter of "absolute non-objectivity."

Many artists helped spread these ideas. El Lissitzky was a key figure who brought Suprematism to the West. Between 1919 and 1923, he created "Proun" constructions. He described these as a station where one moves from painting to architecture. The term "Proun" stands for "Pro Unovis." Another artist, Lazar Khidekel, moved the movement into three dimensions. He created "architectons," which were three-dimensional models. He even designed futuristic projects like a "City on the Water" in 1925.

Even as political changes occurred in Russia, the influence of Suprematism remained. In 1934, the state made "Socialist Realism" the official policy. This policy prohibited abstract art. Malevich still held onto his ideas. In a 1933 self-portrait, he painted himself in a traditional style to follow the rules. However, he signed the work with a tiny black-and-white square. This small detail showed his lasting connection to Suprematism.

Автопортрет. Художник. 1933. ГРМ
Автопортрет. Художник. 1933. ГРМ
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