Suprematism . It was a Russian artistic movement that developed in parallel with Constructivism . Formed in Russia in 1915 – 1916 . Term used by Kasimir Malevich as a reference to his theory and artistic production developed as a manifesto and whose foundation is established in “pure non-objectivity”.
As an artistic style, suprematism is an attempt to dogmatize into “pure formal principles” the geometric-constructive aesthetics that had been born in the artistic circle of the Russian Avant-garde and that artists such as Tatlin, Rodchenko and the Pevsner brothers worked.
Summary
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- 1 Foundation
- 2 Suprematist manifesto
- 1 Characteristics of its productions
- 3 Representatives
- 4 Sources
Basis
Suprematism promotes a taste for geometric abstraction and non-figurative art. For this, the suprematists seek “formal supremacy” in the representation of a visual universe populated by pure geometric shapes. From this exemption it follows that suprematism rejects conventional art and goes into the search for pure sensitivity in geometry; until falling into an almost insuperable and simple abstraction. For suprematist artists to achieve this, they had to suppress everything expressive and anecdotal found in abstract productions. In line with this, this movement led to a new modulation of the forms and their plastic conceptions, creating artistic productions that, by then, second decade of the 20th century, they conceived new concepts about “pure and absolute forms” in dialogue with the capture of attractive simple harmonies.
The suprematist painting “ Black Square on a White Background ”, which Malevich himself described as “framed nude icon”, supposed the total and definitive rupture with the anecdotal and narrative that was covered in multiple references of abstract art; thus promoting a purely plastic and formal speech. Suprematism marked the zero point of objective reduction, reconciling, together with the use of the square, the geometric shapes of the triangle, the circle, the rectangle and the cross; these forms which it endowed with a structural, elemental and reductionist character.
Suprematist manifesto
In 1915 , the suprematist painting “ Black Square and Red Square ” was exhibited in Moscow , Russia . That same year the painter Kasimir Malevich and the poet Vladimir Mayakovsky wrote the suprematist manifesto. In 1920 Malevich concluded his suprematist theories by writing his essay ” Suprematism “, also known as ” The world of non-representation” The suprematist manifesto proposed the liberation of sensory determination, that is, of objective experience. In this way, suprematist painting declared itself contrary to all deformation of unlimited space and became defender of the measurable and dimensional.
Black box and red box
Characteristics of their productions
- Painting devoid of significance by breaking with sensory determination.
- Prevalence of basic shapes of geometry
- Use of the colors Yellow, Red , Green and Blue and not the colors White , Black and Gray .
- Aesthetics that translates into working with the pure chromatic masses of geometry and two-dimensional space.
- Assessment of the creative act
- Marked compositional simplicity and formal organization.
- Prevalence of concepts such as harmony, tension, overlap, contact, similarity, etc.
- Sensations of movement
- Prevalence of the use of spot color.
- Compositions with high command of the concepts of symmetric-asymmetric balance.
