Suprematism
Sign in to saveSuprematism () is an early 20th-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 the figurative depiction of real-life subjects.
AI overview
Suprematism is an early 20th-century art movement that stripped painting down to basic geometric shapes like circles and squares in a limited color palette, rejecting the traditional goal of depicting real-life subjects. It matters because it pioneered a radically new approach to art based on pure artistic feeling rather than representation, helping to establish abstract art as a legitimate and influential direction for modern painting.
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Key facts
- Art movement.name
- Suprematist art
- Art movement.country
- Russian EmpireSoviet Union
- Art movement.majorfigures
- Kazimir Malevich
- Art movement.image
- Malevici06.jpg
- Art movement.caption
- Kazimir Malevich's Suprematism, 1916–17, Krasnodar Museum of Art
- Art movement.image_upright
- 1
via Wikipedia infobox
Article
14 sectionsContents
- Birth of the movement
- Distinct from Constructivism
- Influences on the movement
- The ''Supremus'' journal
- El Lissitzky: Bridge to the West
- Architecture
- Social context
- Notable exhibitions
- Historic exhibitions
- Retrospective exhibitions
- Artists associated with Suprematism
- References and sources
- Further reading
- External links
Suprematism () is an early 20th-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 the figurative depiction of real-life subjects.
Founded by Russian artist Kazimir Malevich in 1913, Supremus () conceived of the artist as liberated from everything that predetermined the ideal structure of life and art. Projecting that vision onto Cubism, which Malevich admired for its ability to deconstruct art, and in the process change its reference points of art, he led a group of Russian avant-garde artists—including Aleksandra Ekster, Liubov Popova, Olga Rozanova, Ivan Kliun, Ivan Puni, Nadezhda Udaltsova, Nina Genke-Meller, Ksenia Boguslavskaya and others—in what has been described as the first attempt to independently found a Russian avant-garde movement, seceding from the trajectory of prior Russian art history.