suprematism

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Related to suprematist: Kazimir Malevich

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 ?
Formally speaking, almost identical constellations of elements seem more Suprematist in the earlier work (being all the more worked on such a small scale) and more Constructivist in the later, while the same radial structure seems remarkably balanced between the categories of composition and construction.
It is this aesthetic economy that structures his Suprematist compositions (see for instance Black and White.
As extremist, near-black, squares these works recall Malevich's differently radical suprematist Black Square, definitively shown in Petrograd in 1915.
Some of Rodchenko's work in the applied arts--his jittery, rhythmic kiosk studies, for example, or the suprematist buffoonery of his bookmarks--divulge a terse sense of humor.
Meanwhile, in Modern Toys II, similar assorted shapes rendered in solid red, yellow, blue, and dark brown are less obviously rooted in the real world and look more like the rearranged components of a Malevich Suprematist composition.
How these three-dimensional versions of Suprematist paintings could ever be realised was not his concern: the artist's role was, he believed, to create, and it was for technicians to struggle with the practical details.
Elsewhere an entire room is given to the 'lying in state' of a wax effigy of Kazimir Malevich, the founder of the Suprematist Movement.
Thus the timber and marble furniture in the cloakroom and cafe shifts and floats, without trimmings, as pure Suprematist form.
The first gallery formed an antechamber of Suprematist and Constructivist paintings and sculptures.
Imagery, Iconography, and Self-transcendence' fills out suprematist iconicity.
Sokratous 11, 2013, is a painting in black and white of a black woman posing spread-eagle, her modesty protected by the white angular shapes, like those in a Suprematist painting, cutting through her body.
After the Revolution, Klutsis produced a series of abstract paintings, drawings and prints in the suprematist idiom.