suprematism

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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 ?
Suprematist teapot, 1923, Kazimir Malevich, white glazed porcelain, ht 16.
In a contemporary world increasingly shaped by the ubiquitous mobility and hyperconnectivity of digital technology, her vision of a floating architecture escaping gravity and orthogonal geometry started to seem less like Suprematist science fiction and more like a new form of practicality.
While Ando's handling of movement space and his sensitivity to nature derive from local traditions, his recent compositions strongly resemble those of Russian Constructivists and Suprematists of the 1930s.
Pairing canvases by Malevich and his fellow Suprematists with those of later artists inspired by his Black Square and its aesthetic implications, this exhibition of approximately 120 works will trace the multifarious, often contradictory, ways in which that seminal work has been understood: as an iconic portal to a spiritual dimension, a materialist assertion of the here and now, or a placeholder for our desires about what art should be.