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Suprematism
(redirected from suprematist)

   Also found in: Dictionary/thesaurus, Wikipedia, Hutchinson 0.01 sec.
suprematism, Russian art movement founded (1913) by Casimir Malevich in Moscow, parallel to constructivism constructivism, 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)
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. Malevich drew Aleksandr Rodchenko Rodchenko, 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 Lissitzky Lissitzky, El (Eliezer Markovich Lissitzky) (lyĭsyēts`kē), 1890–1941, Russian painter, designer, teacher, and architect.
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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 Bauhaus Bauhaus (bou`hous), school of art and architecture in Germany.
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, deeply influenced the development of modern European art, architecture, and industrial design.

Suprematism

First movement of pure geometrical abstraction in art, introduced in Russia c. 1913. Originated by Kazimir Malevich and disseminated by El Lissitzky and the Bauhaus school, it had far-reaching influence on Western art and design. Malevich aimed to convey the “supremacy of feeling in art,” which he believed could be expressed through the simplest of visual forms. He exhibited the first Suprematist compositions in 1915, the year he issued the Suprematist manifesto. The purest embodiment of Suprematist ideals can be seen in his White on White series (1917–18).



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Approximately 250 works from the last eight centuries will be generously thrown into the bin--medieval icons, imperial statuary, Suprematist paintings, Soviet propaganda--everything, presumably, but a Russian kitchen sink.
The collective symbiosis Clark envisions was achieved briefly in the work of the Suprematists.
The most radical art can, in the guise of ornament, bypass the critique of political fundamentalists as in the case of the suprematist interior of Lenin's tomb, visited by millions at a time when its equivalent in paint ing was totally suppressed.
 
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