Suprematism Art Movement & Characteristics
Suprematism is a style of art that was popular in the early twentieth century. Suprematism, coined by Russian artist Kazimir Malevich, was one of abstract art's ﬁrst and most revolutionary movements.
Malevich believed that Suprematist art would be advantageous to all previous art, and it would lead to the "supremacy of pure feeling or perception in the pictorial arts," hence the name. Malevich obtained his interest in art through defying the structure of the language from avant-garde poets and an evolving movement in literary criticism.
He acknowledged that there were subtle links with both words or signs and the things they denoted, and he saw the potential for purely abstract art as a result of this belief. Malevich became fascinated by the quest for art's most basic elements, just as poets and literary figures had been.
It was a daring and experimental project that bordered on strange mysticism at times. Although the movement was later attacked by the Communist authorities, its impact was widespread in Russia in the early 1920s, and it influenced Constructivism as well as inspiring abstract art to this day.
What is the definition of Suprematism?
Suprematism was an abstract art movement that originated in Russia during WWI. Suprematists were focused on pure abstraction and sought the 'zero degree' of artwork, the point beyond which the substance could no longer be considered art. Simple themes were being used to solve this problem, as they best expressed the shape and smooth surface of the canvas.
The group's favorite motifs were the square, circle, and cross. Suprematist artists believed that the objective world's visual manifestations were inconsequential in and of themselves and that what mattered was feeling.
The term "Suprematism" was conceived to describe the motion, which aimed to elevate pure emotion or perception to the forefront of the visual arts.
What exactly is the point of Suprematism?
The purpose of Suprematism is that art should express the work of art in its purest form. Suprematist black-and-white pics of geometric forms and letters represent this meaning.
The pics are based on a straightforward, often literal meaning of the illustrated object. By obliterating the real-world distractions and forcing the viewer to focus solely on the painting.
Russia was an epicenter for cutting-edge avant-garde art during the First World War. While Constructivism was becoming a well-known avant-garde art movement, Natalia Goncharova and her partner Mikhail Larionov were experimenting with their art under the term "Everythingism."
At the same time, Kazimir Malevich was starting to develop Suprematism and starting to work on the most radical breakthroughs in the abstract art of his time. In 1913, while working on cosplay drawings for the Futurist opera Victory Over the Sun, he generated the first works related to Suprematism.
Suprematism is a natural continuation of Futurism's movement and Cubism's reduced forms and differing perspectives, and Malevich was still strongly influenced by Cubo-Futurism at the time.
Suprematism's Main Ideas
Avant-garde poetry and literary criticism served as a major source of inspiration for Malevich as he moved towards Suprematism. The Russian Formalists were a powerful group of literary critics who argued against the notion that language is a simple and transparent means of communication.
Words were not always easily linked to the items they signified for them. Phrases and art, then, have the potential to create a new, strange, and refreshing view of the world.
Suprematist artists directed for the same thing: they decided to eliminate the real world from the viewer's experience and the ability for them to begin to consider the world through the transcendental experience prompted by an entirely stripped-down, abstracted art. Malevich also got inspiration from Russian traditional arts and the Russian Orthodox Church's customs.
Suprematism in Its Different Stages
Malevich, as the movement's leader, divided Suprematism's evolution into three distinct phases premised on his works of art: the black stage, the colored stage, and the white stage.
Each phase resulted in a large number of works of art that each investigated a different set of geometric shapes and combinations. The vast bulk of Malevich's paintings in the first phase, which he dubbed "black," showcased a wide range of black shapes painted over a white background. His legendary Black Square, which he painted in 1915, exemplified this period.
This artwork went to become one of his best-known works, as well as serving as the centerpiece of Suprematism's first portion. Malevich started to integrate some colors into his primarily monochromatic pieces of art in his second phase, dubbed "colored."
Malevich concentrated on the color red including the use of complex forms to create the sense of movement within this phase, which is sometimes referred to as Dynamic Suprematism.
Malevich was able to use the idea of dimensionality and perception in aspects that befuddled any reasonable and rational link among visual connections and reality by continuing to expand his color palette. The "white" was Kazimir Malevich's final phase of Suprematism, as it consisted entirely of white forms painted on white backgrounds.
In 1919, Malevich held a show called the Tenth State Exhibition: Non-Objective Creation and Suprematism, in which he showed his breakthrough painting White on White (1918). White on White was hailed as a groundbreaking work of modern monochrome art because it depicted only the "idea" of art, with no shapes or forms depicted.
Characteristics of Suprematism in Art
This type of painting separates itself from nature and creates a unique reality. The paintings gave the impression of motion and speed.
The artist had no use for the outside world and used basic shapes such as triangles, squares, crosses, and circles were used, it was a form of abstraction art.
It had pure and unconditional forms with simple harmonies. Plain colors with strong contrast were in use. The color palette was limited, consisting primarily of red, black, blue, white, and green. It was dominated by neutral backgrounds, most of which were white. as well as some transitional ranges.