suprematism


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Related to suprematism: de Stijl

suprematism,

Russian art movement founded (1913) by Casimir Malevich in Moscow, parallel to constructivismconstructivism,
Russian art movement founded c.1913 by Vladimir Tatlin, related to the movement known as suprematism. After 1916 the brothers Naum Gabo and Antoine Pevsner gave new impetus to Tatlin's art of purely abstract (although politically intended) constructions.
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. Malevich drew Aleksandr RodchenkoRodchenko, Aleksandr
. 1891–1956, Russian painter, sculptor, photographer, and designer, b. St. Petersburg. One of the most important and versatile avant-garde artists to emerge after the Russian Revolution, he was a leading adherent of constructivism.
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 and El LissitzkyLissitzky, El
(Eliezer Markovich Lissitzky) , 1890–1941, Russian painter, designer, teacher, and architect. Lissitzky studied at Darmstadt and later taught at the Moscow Academy of Arts, collaborating with avant-garde artists and architects.
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 to his revolutionary, nonobjective art. In Malevich's words, suprematism sought "to liberate art from the ballast of the representational world." It consisted of geometrical shapes flatly painted on the pure canvas surface. Malevich's white square on a white ground (Mus. of Modern Art, New York City) embodied the movement's principles. Suprematism, through its dissemination by the BauhausBauhaus
, artists' collective and school of art and architecture in Germany (1919–33). The Bauhaus revolutionized art training by combining the teaching of classic arts with the study of crafts.
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, deeply influenced the development of modern European art, architecture, and industrial design.

Suprematism

 

a movement in avant-garde art founded in Russia by K. S. Malevich early in the second decade of the 20th century. A form of abstract art, suprematism expressed itself in combinations of simple variously colored geometric shapes that lack any representational meaning.

References in periodicals archive ?
is the form par excellence that makes modernism what it is"--to Impressionism, Post-Impressionism, Cubism, Suprematism and Abstract Expressionism (the last serious attempt to create a universal "proletariat" signage).
One particular project by El Lissitzky, and in particular one of two gouache studies for it, strikes me as pivotal in the shifting of the artist's center of aesthetic gravity from Suprematism, at the more idealistic and formal pole with composition, to Constructivism, with its emphasis at the more materialistic pole on construction in a new technical and anti-formal sense of projective engineering.
Modernists in other countries also made early bids for the skies: Marinetti, in his first Futurist manifesto of 1909, rounded off a long list of praiseworthy inventions with the aeroplane; Malevich, who launched Suprematism in 1915, spoke of'an urge to take off from the Earth'.
Rather, they seem to belong to a sullied Suprematism, one that renders this configuration too jumbled for properly non-objectivist taste, its abstraction impinged upon, if not utterly foreclosed, by the bombarding figures above and the metafiguration below.
Joseph Masheck delivered a riveting keynote lecture, '"Convictions of Things Not Seen": A Change from Suprematism to Constructivism in Russian Revolutionary Art'.
Filmmaker and critic Elder argues that cinema became the artistic focus in the early twentieth century around which a number of aesthetic forms took their influence, particularly in non- representational art and Russian Suprematism, Constructivism, and Productionism.
He tried by turns Impressionism, Symbolism, Fauvism, Cubism, Primitivism, Futurism, Suprematism and, in the end, traditionalism too.
Push through until the pointy end comes out at the dense cluster of lines where Orphism is snuggling up to such utopian developments as De Stijl, Suprematism, and the Machine Aesthetic.
Frankly, the problem of suprematism as too like religion for insufficiently dialectical Stalinists does not concern me as much as the deletion of religion in the bourgeois-materialist west.
Yet to argue that Salle was focused on an art of existential effect (as if following a thread leading from Suprematism through Abstract Expressionism) smacks terribly of casuistry, since, from the outset of his notable career, the ocean of ciphers in which he has luxuriated have begged to be decoded.
What links them specifically is that, while closely associated with--or in El Lissitzky's case, at the forefront of--radical movements in fine art such as Suprematism, Constructivism and De Stijl, they all opted to channel their creative energies into graphic design.
Confronting the rift between vitalistic-spiritual suprematism in painting and mechanistic-materialist constructivism in 'objects', Spira shows uncommon concern with the iconic on Tatlin's part, with a classic Corner Counter-Relief as 'counter' to Malevich's hanging of his first Black Square across the corner of the exhibition gallery in 1915, famously like an icon in the privileged 'red corner' of an Orthodox household (no mention of the ensuing fistfight, however).