Russian Artists Were Most Successful in Their Endeavor to Unite Art and Life in
Grandazimir Malevich was a prolific Russian avant-garde creative person; he was not just a painter but also a author. He formulated new fine art theories that would eventually become what he is still most known for, the fine art style Suprematism. Perchance a minimalist at eye, Malevich paved a fashion for not-objective art during a period of globe history in the trenches. In this article, we explore Kazimir Malevich as a man and artist in more item.
Tabular array of Contents
- 1 Creative person in Context: Who Was Kazimir Malevich?
- i.1 The Birth and Early on Life of Kazimir Malevich
- 1.two Education and Career
- 2 Artistic Characteristics of Kazimir Malevich
- 3 Important Exhibitions
- three.1 The Terminal Futurist Exhibition of Paintings 0,10 (December xix, 1915, to January 17, 1916)
- 3.2 Malevich and the American Legacy (March iii to April 30, 2011)
- four Kazimir Malevich Artworks
- 5 Book Recommendations
- 5.1 Kazimir Malevich and the Russian Avant-garde: Featuring Selections from the Khardziev and Costakis Collections (2014) past Linda Boersma and others.
- five.2 Kasimir Malevich: The Non-Objective World: Bauhausbücher 11 (2021) by Walter Gropius (Editor), László Moholy-Nagy (Editor), and Kazimir Malevich
- 5.3 Malewicz: Beyond Censorship (2022) by Andréi Nakov
- 6 Malevich Reigning Supreme
- 7 Frequently Asked Questions
- seven.1 What Was Kazimir Malevich's Art Fashion?
- vii.2 Who Painted the Black Foursquare?
- vii.3 What Did Kazimir Malevich Believe About Painting?
Creative person in Context: Who Was Kazimir Malevich?
Nosotros will get-go by exploring Kazimir Malevich'southward early life and where he was built-in. This will be followed by his education and creative career, including mention of his early creative influences and travels and how he became i of the famous Russian avant-garde artists in fine art history.
| Appointment of Birth | 23 February (Old Style agenda changes are dated for 11 February) 1879 |
| Date of Death | fifteen May 1935 |
| Land of Birth | Born in or near Kyiv, Ukraine |
| Art Movements | Cubo-Futurism, Suprematism |
| Genre / Mode | Abstract (Non-Objective) fine art |
| Mediums Used | Pencil, Painting (oils) |
| Dominant Themes | Geometric shapes, minimal and flat spaces |
The Nativity and Early Life of Kazimir Malevich
Kazimir Severinovich Malevich was born in Feb 1879 in Kyiv, Ukraine; his proper noun is originally spelled Kazimierz Malewicz. From Poland, his parents' names were Ludwika and Seweryn Malewicz and in that location were reportedly 14 siblings comprising the family with 9 that lived; Kazimir was the first-born. During Malevich's life growing upwardly, his family relocated on numerous occasions due to his male parent working, of which worked at a sugar factory at one stage.
It has likewise been written that Malevich started delving into the arts when he was 12 years former.
He as well delved into peasant art styles because of his lifestyle on plantations compared to city life. However, although sources land he was not exposed to as much city culture or professional artists, it is clear he was exposed to some cultures growing upward, which would have undoubtedly left an imprint on his imagination and artistic curiosities.
Self-portrait (1910-1911) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Eatables
Education and Career
Malevich's pedagogy spans numerous fine art schools and grooming. In 1895 he studied at the Kyiv Schoolhouse of Art, and information technology was around 1904, the same year his father died, that he started his studies in Moscow, where he moved to.
In Moscow, he trained in fine art at the Stroganov Schoolhouse of Art and at the Moscow School of Painting, Sculpture, and Compages, which was until around 1910. Some of the notable teachers in his life during this menses included Fedor Ivanovich Rerberg.
During the 1900s, Malevich was exposed to a range of styles of fine art, notably Impressionism, Post-Impressionism, Art Nouveau, also every bit Symbolism. He was as well part of several artistic groups that explored Cubo-Futurism and Futurism as a style.
A group photo of the students and professors of the UNOVIS grouping, 1920 in Vitebsk, Russia. Kazimir Malevich tin be seen in the centre wearing a lid and pointing to a sign;Unknown author Unknown writer, Public domain, via Wikimedia Commons
Some of the first groups Malevich joined and was invited to exhibit with were, namely, The Knave of Diamonds, also called The Jack of Diamonds, and then The Ass'due south Tail, which was started by members from the previously mentioned group who were more radical in their approaches.
One of the master artists and founders of both groups included the Russian, Mikhail Fyodorovich Larionov, who was besides known equally pioneering Russian abstract art.
Additionally, he besides gave both groups their names. His artistic manner besides moved around Impressionism, Post-Impressionism, Primitivism, and Cubo-Futurism. In around 1910, the Jack of Diamonds group held their beginning exhibition in Moscow, Kazimir Malevich joined and displayed. In 1912, Malevich also joined the first exhibition for The Donkey's Tail, which is also noted where his Cubo-Futurist manner developed.
Get-go All-Russian Congress of Futurists. From left to correct: Mikhail Matyushin, Kazimir Malevich, Alexei Kruchenykh at Matyushin's dacha in Uusikirkko on July eighteen, 1913. Photo by M. Matyushin;Михаил Матюшин, Public domain, via Wikimedia Commons
Malevich did non remain with Larionov's groups and reportedly joined the more Futurist artistic grouping chosen the Youth Union, otherwise Soyuz Molodyozhi. Malevich participated in several exhibitions along with other artists similar Vladimir Tatlin, who was one of the founders of the Constructivism art movement in 1915.
The same Soyuz Molodyozhi group organized the Russian opera Victory Over the Sun (1913), of which Malevich was the stage gear up designer. This was also where he reportedly started his famous Blackness Square painting (1915), which was office of a curtain for the stage. He painted it in 1915, which became one of the most important abstract art pieces in Modern art history.
Properties for Victory Over the Sun, Human action one, Scene 4, designed past Kazimir Malevich, 1913; Kazimir Malevich, Public domain, via Wikimedia Commons
During 1914 Malevich likewise exhibited at the Paris Salon des Indépendants, collaborated as an illustrator for the publications by the Russian poet Velimir Khlebnikov, namely Selected Poems with Postscript, 1907 – 1914 and Roar! Gauntlets, 1908 – 1914.
He also produced lithographs that were in honour of Russian federation during World War I.
Malevich'due south Manifesto: From Cubism and Futurism to Suprematism: The New Painterly Realism
During 1915 Malevich introduced new ideas to the world of art and the globe at large; his ideas would marker him equally one of the pioneering abstruse artists, also termed non-representational, artists of our time, alongside other artists like Wassily Kandinsky and Piet Mondrian.
Malevich's manifesto titled From Cubism and Futurism to Suprematism: The New Painterly Realism (1915) described a new type of art manner removed from how art has been regarded, not but logically, merely intuitively, information technology was called Suprematism. The artist started his ideas around 1913, the beginnings of which are evident in the artwork he produced for the Futurist opera Victory Over the Sun, including the Black Foursquare painting previously mentioned.
Blackness Square (1915) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Commons
What exactly was Suprematism about? It is important to remember that throughout his artistic career his style changed from Post-Impressionistic, Cubic, Futuristic, Primitivist, to Cubo-Futuristic, all of which developed into his new ideas of abstraction and the non-objective.
Suprematism was nigh going back to the fundamental forms of fine art, beyond reality. In his manifesto, he wrote about seeing the pure in art, once the "Madonnas and Venuses in pictures disappear". He as well wrote about how he transformed himself in the "zero of form" and out of academic art.
It was the reference to "zero" that held considerable significance in Malevich's theories. He further wrote that he destroyed the "horizon-ring that has imprisoned the artist and the forms of nature".
He believed in going back to the absolute fundamentality of course beyond the objective earth, as he described it in his publication from 1927 The Non-Objective World, and into the earth of feeling. The key shapes he turned to were squares and circles. The exhibition called The Last Futurist Exhibition of Paintings 0,10 started on December 19, 1915, to January 17, 1916, in what was then Petrograd, at present Leningrad, at the Dobychina Art Bureau.
Poster for the Last Futurist Exhibition of Paintings 0,10 (1915);организаторы выставки 0,10, Public domain, via Wikimedia Commons
This marked the showtime of the Suprematism art movement and displayed reportedly 39 Malevich art pieces, and overall, at that place were obviously 155 artworks from other artists. The significance of the "0,ten" lies in the zip, which referred to a new world, so to say, however, various sources land that the meaning of this is however unclear.
Pronounced every bit "zero-ten", the x could further announce Malevich'southward belief in how "0" was across reality, referring to his writing well-nigh it and the "zero of form", then form goes across reality.
Additionally, many believe the "10" was included to announce the number of artists who were part of the exhibition, however, plainly in that location were 14 artists. Nevertheless, this exhibition and its name went together with the nature of the new Suprematism movement; this marked a turning indicate in Malevich's artistic career.
Olga Rozanova, Kseniya Boguslavskaya, and Kazimir Malevich at the Last Futurist Exhibition of Paintings 0,ten, Petrograd, 1915;неизв., Public domain, via Wikimedia Commons
There was also a journal titled Supremus, although the first edition was non published and the periodical was non entirely successful, which was also partly due to the revolution in Russia and World War I. The give-and-take Suprematism originates from the word "superior", which is rooted in the Latin supremus, meaning "highest" or "supreme".
It was Malevich's wish and belief through his endeavors that Suprematism would go the supreme course of art, so to say. He is frequently quoted as writing almost explaining that it is the "supremacy of pure feeling or perception in the pictorial arts".
Artistic Characteristics of Kazimir Malevich
If we look at the artistic characteristics of Kazimir Malevich's art, we volition wait straight at the characteristics of his fine art movement called Suprematism, mentioned in a higher place. The primary characteristics comprising the Malevich paintings are primal geometric shapes like squares and circles in bones colors, and usually on a white background.
Withal, Malevich as an artist did not start with the level of abstraction in his art that we have come up to expect from him. We volition notice in his earlier paintings that his style ranged from Impressionist, Fauvist, Symbolist, as well as Cubist.
We could as well say that Malevich'south art could be divided into his earlier figurative art that adult into a non-objective fine art style.
In his early works like Landscape with a Yellowish Business firm (Winter Landscape) (1906), at that place is the influence from Impressionism considering of the areas of color cogent the limerick, as well as giving the impression, so to say, of the Yellow House and its surround. His mode consists of thick brushstrokes with brighter with bolder areas of color. Information technology is more than expressive in a manner that is then dissimilar from his later artworks.
Mural with a Yellowish Firm (Winter Landscape) (1906) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Commons
Another example from the before Malevich art drove is the Symbolist The Triumph of Sky (1907), which depicts a religious scene equanimous of three groups of figures with halos over their heads and a big figure presiding over them with outstretched arms at the height of the painting.
The 3 groups of figures are standing with their easily by their chests in a prayer position. There are two groups on each side standing in clouds, while the group in the center stands on a grassy colina. The large overhead figure could perhaps be symbolizing God, he too, is immersed in white balls of clouds.
This composition is reminiscent of icon paintings we would find from a Byzantine or Early Renaissance. Religious themes were important to Malevich and how he reportedly painted with the idea of peasant fine art in mind, which was a large office of his early life, including Eastern European folklore fine art.
The Triumph of Heaven (1907) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Commons
Malevich explored the Cubism and Futurism art styles, which nosotros will come across in numerous of his paintings. The geometric motifs and stylization became ascendant artistic characteristics, which he would continue to refine to simplicity in his Suprematism manner.
Some Cubo-Futurist artworks include Woman at the Tram Stop (1913) and An Englishman in Moscow (1914). Both depict what is termed a deconstruction of the pictorial space. Although nosotros tin yet sympathize certain motifs, which are figurative in nature, it hinges on abstruse as the meaning of the figurations is also lost and simultaneously reconstructed.
Woman at the Tram Stop (1913) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Commons
The title of the painting tells united states of america in that location is supposed to be a woman, however, we are not able to deduce the figure of a adult female. We can detect images that appear like a calendar, photos of a canteen and a man, and many other different objects and shapes that could suggest the woman'due south essence, only not the woman herself.
Malevich leaves it open up-ended for the viewer.
Similarly, in An Englishman in Moscow Malevich placed various motifs to make a whole composition, ranging from the figurative with what appears to be a half image of a homo, a church or mosque, a candle, a fish, a ladder, a pair of scissors, a spoon, and various letters in and numbers placed throughout the composition in what appears to be the Cyrillic script.
An Englishman in Moscow (1914) by Kazimir Malevich; Txllxt TxllxT, CC BY-SA 4.0, via Wikimedia Commons
In another example, Reservist of the Get-go Division (1914), Malevich utilizes not only oil paints, but real objects like a thermometer, postage stamp stamps, and more. The artist created a collage of different motifs to convey the message of the composition on a more emotional level, beyond the "rational". This also refers to the mode, or technique, called zaum that Malevich adopted from the Futurist artists of Russian federation, he as well reportedly termed information technology "zaum realism" along with other paintings.
Reservist of the Get-go Sectionalisation (1914) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Eatables
Bordering on not-representational, Malevich'south paintings The Woodcutter (1912) and Woman with Pails: Dynamic System (1912-1913) draw that characteristic deconstruction of the figurative, while still existence able to discern the figure presented.
Both above-mentioned paintings also depict the characteristic geometric shapes that Malevich utilized to convey the subject matter. We run across in The Woodcutter, the male effigy, a peasant, holds an ax in both hands, however, he is shaped by what are "cylindrical" and "conical" forms, reminiscent of the Cubism art style.
The Woodcutter (1912) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Commons
This painting has been described equally having stylistic elements from Post-Impressionism, Cubism, as well as Symbolism regarding the theme of peasantry and sociology. This is an intersection of different characteristics, which we volition also find in Woman with Pails: Dynamic Arrangement, although this composition appears more abstracted with a neutral colour scheme. Nosotros can barely identify the woman here, however, in that location is evidence of her and the pails on both sides of her body. Again, Malevich introduces the geometric forms that are conical and cylindrical.
Malevich was believed to exist inspired by the piece of work of French Joseph Fernand Henri Léger as well equally the stylistic theories from Paul Cézanne, both of which explored figuration through geometric shapes.
Woman with Pails: Dynamic System (1912-1913) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Commons
Malevich'southward creative characteristics started taking a turn into the not-figurative and wholly not-objective style. Examples include his Supremus No. 56 (1915-1916), Airplane Flying (1915), Blackness Square (1915), and a reddish square painting titled Painterly Realism of a Peasant Woman in Two Dimensions (Cherry Square) (1915), among others.
Supremus No. 56 (1915-1916) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Eatables
All the above-mentioned paintings by Malevich depict his Suprematist style, which was a simplified refinement of geometric shapes every bit well as colour. In that location is also more focus on the square, rectangular, and linear shapes, especially in his famous Black Square and the similar Red Foursquare (1915) paintings.
Ruby Square (1915) by Kazimir Malevich; I, Sailko, CC Past-SA iii.0, via Wikimedia Eatables
His White on White (1917-1918) painting is another example of 1 of the artist's primary characteristics, and so to say, which is depicting a infinite that seemingly moves across the reality we all know, a "new realism" as Malevich called it. In it, we encounter a white foursquare over a white groundwork.
White on White (1917-1918) past Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Commons
Malevich'south paintings changed in way during his afterward years, although he retained his conventionalities in Suprematism, but ventured back into the figurative globe of art, simultaneously exploring themes with peasants. We come across this in examples like Two Peasant Figures (1928-1930), Sportsmen (1931), and his Self-Portrait (1933).
Cocky-Portrait (1933) by Kazimir Malevich; Kazimir Malevich, Public domain, via Wikimedia Commons
Important Exhibitions
Kazimir Malevich participated in numerous exhibitions throughout his life, below we will list several significant exhibitions including mail-humous exhibitions. He participated in diverse earlier exhibitions mentioned above, namely through the artistic groups like The Jack of Diamonds (1910) and The Donkey's Tail (1912), among others. Other retrospective exhibitions included the seminal Cubism and Abstract Art (1936) past Alfred H. Barr, Jr. at the Museum of Modernistic Fine art (MOMA) in New York City.
Additionally, in 1973, what was known as the first retrospective in the United States of the Malevich art collection, was held at the Solomon R. Guggenheim Museum.
Malevich continuing in forepart of his paintings near probably in the Museum of Artistic Civilization, St. petersburg, 1924;Unknown author Unknown author, Public domain, via Wikimedia Commons
The Last Futurist Exhibition of Paintings 0,10 (December 19, 1915, to January 17, 1916)
This was one of the first exhibitions that marked a turning point in Kazimir Malevich's art career, intruding his new style chosen Suprematism. It was held in Leningrad, which is Saint Petersburg now in Russia, at the Dobychina Fine art Agency.
There were 155 artworks on display and there were around 14 artists who participated. Reportedly there were 39 Malevich paintings. We can view the exhibition infinite from what has been known every bit a single surviving black and white photograph, depicting various paintings side by side to the others, spaced out on ii walls.
A department of Suprematist works by Kazimir Malevich exhibited for the first time at the 0,x Exhibition, 1915; Unknown Unknown [1], Public domain, via Wikimedia Commons
In the upper peak corner just below the ceiling, is the Black Square painting placed not entirely apartment on the wall'due south surface, but bridging the gap between the 2 walls. All the paintings draw the characteristic geometric square, rectangular, and round shapes in unlike sizes.
Some of the artists who exhibited alongside Malevich included Vladimir Tatlin, Nathan Altman Ksenia Boguslavskaya, Vasily Kamensky, Anna Mikhailovna Kirillova, Ivan Kliun, Mikhail Menkov, Vera Pestel, Liubov Popova, Ivan Puni, Olga Rozanova, Nadezhda Udaltsova, and Maria Ivanovna Vasilieva.
Malevich and the American Legacy (March 3 to April 30, 2011)
A posthumous exhibition from 2011 was Malevich and the American Legacy, held past the Gagosian Gallery in Madison Artery, New York. It featured vi Malevich paintings alongside the artworks of several contemporary American artists. The exhibition sought to bring the Russian avant-garde in closer proximity to America, as it has always been in Russian federation and non hands viewed.
Furthermore, the exhibition explored many facets of Malevich'south art and how it influenced others on display like Barnett Newman, Alexander Calder, Dan Flavin, Donald Judd, Carl Andre, Agnes Martin, and others.
From the exhibition'south clarification on its website, it is explained that information technology is "not only formal analogy that connects Malevich and American artists but as well deeper artful, conceptual, and spiritual correspondences. In dialogue with his piece of work and ideas, later artists searched for elemental and universal forms consequent with simplified aesthetic aims".
Painterly Realism of a Football Thespian – Color Masses in the fourth Dimension (1915) past Kazimir Malevich, an case of a painting that was displayed at the Malevich and the American Legacy (2011) exhibition at the Gagosian Gallery, New York; Kazimir Malevich, Public domain, via Wikimedia Commons
Kazimir Malevich Artworks
Below we provide a list of several of Kazimir Malevich's paintings from his early years to his after years. This volition include the championship, date, dimensions, and media used for more detailed information well-nigh each painting. Many of the Malevich paintings are housed in different art museums throughout Russia and the Usa at The Museum of Modern Art (MOMA) in New York Urban center.
| Title | Date | Dimensions | Medium |
| The Knife Grinder | 1912 – 1913 | 79.five x 79.5 centimeters | Oil on canvas |
| Morning in the Village After Snowstorm | 1912 – 1913 | eighty x 80 centimeters | Oil on sheet |
| Woman at a Poster Column | 1914 | 71 10 64 centimeters | Oil on canvass, collage, and lace |
| Reservist of the Beginning Division | 1914 | 53.7 x 44.viii centimeters | Oil on sheet, collage, thermometer, paper, and stamp |
| Black Square | 1915 | 79.5 ten 79.5 centimeters | Oil on linen |
| Painterly Realism of a Peasant Adult female in Two Dimensions (Cherry Square) | 1915 | 53 10 53 centimeters | Oil on sail |
| Painterly Realism of a Boy with a Knapsack. Color Masses in the Fourth Dimension | 1915 | 71.ane x 44.five centimeters | Oil on canvas |
| Airplane Flying: Suprematist Limerick | 1915 | 58.one x 48.3 centimeters | Oil on canvass |
| Suprematist Composition: White On White | 1918 | 79.4 10 79.4 centimeters | Oil on canvas |
| Peasants | 1930 | 53 x lxx centimeters | Oil on canvas |
| Sportsmen | 1931 | Effectually 142 10 164 centimeters | Oil on canvas |
Volume Recommendations
Below we provide a few book recommendations for farther reading about Kazimir Malevich, his art theories, and his artworks. For any art enthusiast or art student, it is of import to understand Malevich'southward approach every bit he was i of the leading artists who pioneered abstract art. Furthermore, he was an important figure in the Russian avant-garde, proving essential reading for anyone researching Russian art.
Kazimir Malevich and the Russian Avant-Garde: Featuring Selections from the Khardziev and Costakis Collections (2014) by Linda Boersma and others.
This publication gives a thorough exploration of Kazimir Malevich's art career and the different fine art styles he worked in similar Impressionism, Fauvism, Symbolism, Cubism, and his afterwards style, Suprematism. The artworks are from Nikolai Khardziev and Georges Costakis, who were prominent Russian avant-garde art collectors. Reviewers have written that this book has beautiful images of paintings, which would brand it a worthwhile and versatile resource for art lovers and students.
- Tracing the breadth of Malevich'due south career through his various artworks
- All phases of the artist's development are represented here
- Contextualized aslope works past Malevich's contemporaries
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Kasimir Malevich: The Non-Objective World: Bauhausbücher xi (2021) by Walter Gropius (Editor), László Moholy-Nagy (Editor), and Kazimir Malevich
This is a copy or facsimile of Kazimir Malevich's publication, also titled The Non-Objective World (1927), which he wrote when he started his new art style Suprematism. He wrote this after his first Manifesto in 1915. This was published past Lars Müller Publishers and their Bauhausbücher series. Malevich'south art style inspired the Bauhaus school of design, which provides the intersection of the two styles. Reviewers wrote that this book is worth buying and worth the read.
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Malewicz: Across Censorship (2022) by Andréi Nakov
This book is written nearly Kazimir Malevich and his life, especially his before life and factors like his Polish history and interests in Russian religious art, every bit well as who he was an artist and leader of the Suprematism fine art theory and fashion. The author Andréi Nakov is an art historian and has written numerous other books and papers about Malevich and Russian avant-garde fine art in general.
- Disquisitional study of the foundational myths near the artist's background
- An interrogation of anti-Modernist visual and cultural prejudices
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Malevich Reigning Supreme
Kazimir Malevich was an artist during tumultuous times in the world'due south history, non but did he live through the First World War, only also the Russian Revolution from 1917 until 1923. As a effect of the strict political upheavals, Socialist Realism became the dominant manner of creative expression.
With this, Malevich fought for his ain self-expression, which was radically threatened by thwarting regimes. This too put a stopper to his seemingly alluvion non-objective fine art inventiveness. He was chosen anti-Soviet and barred from exhibiting his works or creating them. His artistic mode somewhat changed to more acceptable bailiwick matter during his subsequently years.
Nonetheless, his artwork did make it to other parts of Europe and the Usa, which opened the doors for other artists peculiarly art styles like Minimalism to find their own modes of cocky-expression. Kazimir Malevich has continued to influence pop civilisation, from novels to films, even to the Winter Olympics in 2014, which was held in the Russian city of Sochi. He was and still is a notable effigy in the fine art world, but more so, a godfather of the abstract, that which goes beyond form, into other dimensions and spaces where a "new realism" presides.
Frequently Asked Questions
What Was Kazimir Malevich's Art Style?
Kazimir Malevich painted in different art styles, starting with influences from Impressionism, Post-Impressionism, Symbolism, Cubism, Futurism, which led to his mode being primarily Cubo-Futuristic. He then developed his art theory and style named Suprematism, which became one of his about famous art styles and characterized him as an artist, as well as his art.
Who Painted the Black Square?
The Russian artist Kazimir Malevich painted the Black Square in 1915. This was the start of his art style called Suprematism, which also included similar geometric paintings like Red Square (1915) and White on White (1918).
What Did Kazimir Malevich Believe About Painting?
Kazimir Malevich sought to portray art devoid of subjectivity, he was a pioneer of not-objective art; a forefather of abstract fine art. Through his art theory and style called Suprematism, he believed in creating a so-called new realism through pure artistic feeling. His artworks were characterized past geometric shapes like squares.
Source: https://artincontext.org/kazimir-malevich/
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