Suprematism
Early-20th-century Russian art movement / From Wikipedia, the free encyclopedia
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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]
Location | Russian Empire Soviet Union |
---|---|
Major figures | Kazimir Malevich |
Influences | Cubism, Futurism, P. D. Ouspensky |
Influenced | Bauhaus and De Stijl |
Founded by Russian artist Kazimir Malevich in 1913,[2] Supremus (Russian: Супремус) conceived of the artist as liberated from everything that predetermined 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]