WHO IS KAZIMIR MALEVICH The man behind Suprematism Kazimir Malevich (1878-1935) was a pioneer of Russian artist. He developed modern art, by completely transforming his experimental paintings from Russian avant-garde to abstract art. He called this abstract art as “Suprematism” and described it as “that end and beginning where sensations uncovered, where art emerges ‘as such’”. But the whole meaning of Suprematism refers to construction of geometric shapes with a sense of spiritual influence. His artistic exploration aspired him to create new elements, new conceptions of reality and modernism. However it does share similarities with constructivism, cubism, futurism and impressionism movements .
The notion of ‘Suprematism’ is treated as an art philosophy and a pictorial system. Malevich uses shapes and colours to depict imagery of people in the most abstract way. The concept of minimalizing the images into its natural form and narrative composition is indicated in “Suprematist (1916)” painting. The radical movement and freedom of expression allowed him to express his work, naturally through the use of technique and colour. He didn’t paint for the sake of aesthetic beauty but to make an art revolution. It could be implied that Malevich’s works are constructed on theories and formulas. For example, constructing geometric shapes uses numbers in order to figure out the height and length. It could be argued that it is not possible to paint the shapes with no purpose and value. SUPREMATIST (1916) 'Suprematist (1916)' is a contemporary abstract painting, in, which portrays geometrical shapes arranged in a dynamic matter. The construction of shapes is well thought out on the canvas, considering their colour and form. The colours, ranging from bright to dark, certainly compliment each shapes. Each of the colours could symbolize different meanings. The visual role of the painting is to form a conversation with the audience. To allow the audience to challenge the complexity and meaning of the image, that Malevich is trying to employ. These are the colours that were used in the painting. I selected all the colours using the eye dropper tool on photoshop and compiled the colours into a colour swatch. I analysed each colour by finding their colour code using the eyedropper tool in photoshop. Each colours have been simplified into their ‘CYMK’ AND ‘RGB’ number. As from what I have analysed, the colours are the common ‘RGB’ colours. The colours itself do not overwhelm the painting and remains natural. The creation of geometry shapes caught my attention, with the way images can be manipulated to an abstract form. Treating shapes as people. The shapes have this mathematical side in which I want to explore; how shapes interact each other into a page.
His work could convey a superficial language, definition of physics and maths/ scientific/mathematical and artistic language. “art which has arrived at suprematism, at non-objectivity as the universal reality, reveals the significance of all that is objective for the ascent to this border” formulate/transcribed, inherent aesthetic visual language, the shapes forms with a conventional language to form a conversation. it’s a complex image to udnerstand. requires a deep anayliss. and understanding. a concern with the the understanding what “realism” truly is” there was a rapid change of progress in 20th century russia. new methods and principles. Imagery value The notion and intuition of In a metaphorical sense,Creating a new essence of style Designated by colour and form BoundsIntriguing Painting like numbers Analyzing every part of the painting Modern art; shapes and colour symbolizing as his strongest feat. contemporary expressive Constructive system Permeating his work Physical phenomena Conceptual Articulated Intuition Characterized by a human figure Suprematist principles My initial idea was influenced by the Gestalt and colour theory in which we looked on a workshop a few weeks ago. The creation of geometry shapes caught my attention, with the way images can be manipulated to an abstract form. Treating shapes as people. The shapes have this mathematical side in which I want to explore; how shapes interact each other into a page. As for my zine, I will introduce Kazimir Malevich and his specific work "Suprematist (1916)" “His own writings indicate a complex theoretical underpinning to his use of such a bold abstract language. He is often referred to as a mystic, owing to his wide reading in philosophical and speculative literature. He was also fascinated by ideas surrounding the fourth dimension, but his thinking about art was crucially influenced by his association with the Russian formalist Roman Jakobson and by the poetic innovations of Kruchenykh and Khlebnikov. He shared with these poets a desire to explode conventional logic in order to arrive at a new empirical understanding of reality.” “No one, however, was more determined than Malevich to overturn centuries of painting rooted in Renaissance ideals. This art, he declared, was merely "aesthetic", and, unlike suprematism, never original or an end in itself. It is argued that Malevich went further than Picasso or Matisse. Whereas they kept hold of some form of representation, however much they pushed it to its limits, Malevich abandoned the depiction of reality altogether. “
His works were purely theoretical, it was as if he formulated each of his works through mathematical method. The idea of constructing geometric shapes uses numbers. radical movement and freedom of expression “suprematism is not a philosophy of negation in a dialectical process; it is a philosophy of without, of absence.” Suprematism should allow nature to proceed naturally to it’s practical state and allow each state, through the use of colour and technique. “rendering forms as zero is but a springboard for going beyond zero, into the regions of a liberated nothing.” Suprematism treated as an art philosophy and a pictorial system. The notion and intuition of In a metaphorical sense, Malevich treats the shapes and colours as images of people in the most abstract way. Concept of Minimalized images A sense of narrative composition Creating a new essence of style Designated by colour and form Bounds
Intriguing Painting like numbers Analyzing every part of the painting Modern art; shapes and colour symbolizing as his strongest feat. Contemporary
My initial idea was influenced by the Gestalt and colour theory in which we looked on a workshop a few weeks ago. The creation of geometry shapes caught my attention, with the way images can be manipulated to an abstract form. Treating shapes as people. The shapes have this mathematical side in which I want to explore; how shapes interact each other into a page. As for my zine, I will introduce Kazimir Malevich and his specific work “Suprematist (1916)”
“believed in the radical reduction of painting to nothing but shape and colour. Paintings would not be pictures, they would depict nothing, state nothing, resist all aesthetic conventions. They would spring free as the revolution itself.“
“I no longer consider suprematism like a painter or like a form that I took out from a dark skull”
“It is from zero, in zero, that the true movement of being begins.”
His work is phenomenal, there is something with the aesthetics of his paintings that reminds me of n
SUPREMATIST (1916)
expressive Constructive system Permeating his work Physical phenomena Conceptual Articulated Intuition Characterized by a human figure Suprematist principles
“it is popularly believed that the artistic leanings of the Russian avant-garde were based on revolutionary politics but this is a mistaken belief”
My initial idea was influenced by the Gestalt and colour theory in which we looked at on a workshop a few weeks ago. The creation of geometry shapes caught my attention, with the way how images can lead to an abstract form. I almost treat shapes as people. The shapes have this mathematical side that which I want to explore; how shapes interact each other into a page. As for my zine, I will talk about Kazimir Malevich biography and his works and also respond to his works through various use of printmaking techniques because it would “His own writings indicate a complex theoretical underpinning to his use of such a bold abstract language. He is often referred to as a mystic, owing to his wide reading in philosophical and speculative literature. He was also fascinated by ideas surrounding the fourth dimension, but his thinking about art was crucially influenced by his association with the Russian formalist Roman Jakobson and by the poetic innovations of Kruchenykh and Khlebnikov. He shared with these poets a desire to explode conventional logic in order to arrive at a new empirical understanding of reality.” “No one, however, was more determined than Malevich to overturn centuries of painting rooted in Renaissance ideals. This art, he declared, was merely "aesthetic", and, unlike suprematism, never original or an end in itself. It is argued that Malevich went further than Picasso or Matisse. Whereas they kept hold of some form of representation, however much they pushed it to its limits, Malevich abandoned the depiction of reality altogether. “
kazimir malevich language communicates and thinks in a mathematical system. his work is conceptual and requires a close observation his work is regarded as expressive, it was relevant during the time of avant-garde style, wight he different concepts that was exploding in the western culture at the end of the ninetheent century
he had advanced ideas , transcriptive, artificial superficial language, definition of physics and maths/ scientific/mathematical and artistic language.
his artistic exploration aspired to create new elemnts, new conception of reality and modernity.
“art which has arrived at suprematism, at non-objectivity as the universal reality, reveals the significance of all that is objective for the ascent to this border”
formulate/transcribed, inherent aesthetic visual language, the shapes forms with a conventional language to form a conversation. it’s a complex image to udnerstand. requires a deep anayliss. and understanding. a concern with the the understanding what “realism” truly is” there was a rapid change of progress in 20th century russia. new methods and principles.
he constructs whole concept of maths- to leave a deep impression -
believed in the notion of conceptual and modernity.
apr 26 2017 +