Exploring Kazimir Malevich’s Suprematism and Cubo-Futurism

Kazimir Malevich (1879–1935) was a pioneering Russian avant-garde artist and art theorist best known for founding the Suprematist movement, which emphasized pure geometric abstraction. His work significantly influenced the trajectory of 20th-century abstract art.

Early Life and Influences

Born in Kyiv to Polish parents, Malevich was exposed to various artistic styles during his formative years. He experimented with Impressionism, Symbolism, and Fauvism before gravitating towards Cubism and Futurism. These explorations laid the groundwork for his later abstract compositions.

Suprematism: The Quest for Pure Abstraction

In 1915, Malevich introduced Suprematism, a movement focusing on basic geometric forms and the supremacy of pure artistic feeling over depiction. His iconic painting, Black Square (1915), epitomizes this philosophy. It presents a stark black square against a white background. This work challenged traditional artistic conventions and marked a pivotal moment in abstract art.

Visual Characteristics

Malevich’s Suprematist works are characterized by:

• Geometric Forms: Use of squares, circles, and crosses.
• Limited Color Palette: Predominantly black, white, red, blue, and yellow.
• Spatial Ambiguity: Floating shapes that defy conventional perspective, creating a sense of depth and movement.

These elements combine to evoke a sense of harmony and tension. They invite viewers to engage with the artwork on a purely emotional level.

Historical Context and Legacy

Malevich’s work emerged during significant social and political upheaval in Russia. The abstract nature of Suprematism paralleled the revolutionary ideas of the time, seeking to break free from past traditions. Despite facing censorship under Stalinist regimes, Malevich’s influence endured, impacting artists worldwide and shaping the course of modern art.

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Kazimir Malevich: Suprematism: 34 Drawings

by Patricia Railing

A facsimile edition of Kazimir Malevich SUPREMATISM 34 Drawings was published in 1990 by Artists Bookworks. It was accompanied by an introduction to the drawings by Patricia Railing; it is now out of print. The latest translation from Russian and a new introductory text by Patricia Railing, “Reading the 34 Sketches,” is included in this 2014 reprint of Malevich’s small volume. The Russian text and plates were scanned from an original copy. The small book is the same size as the 1920 lithographed Russian version.

The sketches themselves are a fascinating glimpse into the mind of one of the most important artists of the 20th century. Malevich’s use of geometric shapes and bold colours, as well as his rejection of representational art, were revolutionary at the time. The sketches in this volume range from abstract compositions to more recognizable objects, such as trees and houses, all executed with Malevich’s signature style. Reading through the accompanying translation by Patricia Railing adds another layer of understanding to these sketches. It allows readers to delve deeper into Malevich’s artistic vision. Overall, this reprint is a valuable addition to any art lover’s collection. It provides insight into the early days of abstract art and one artist’s groundbreaking contributions to the movement.

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