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Related to suprematism: de Stijl


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.



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 ?
It is only the rise of pure abstraction in the 1920s that attempted to completely leave behind the world of Things, taking a short cut--trying to capture pure subjectivity by turning completely away from the "existential world of Nature." (65) Does this impulse, whether in Suprematism or later abstraction (including Abstract Expressionism), reveal the true essence of art, as Kandinsky hoped?
In contrast, the ASYS, primarily after the poster affair, frequently designed posters that drew on Dali's anarchism, suprematism, and the Bauhaus and post-Cubist pictorial modernism.
(8) In his book Ot Sezanna do suprematizma: Kriticheskii ocherk (From Cezanne to Suprematism: A critical sketch, 1920), for instance, Malevich addresses the Italians' idea of the centrality of the spectator within the artwork and the concept of force-lines.
She graduates from the American university in Beirut with a degree in mathematics.[...] she shares the fascination for the aesthetic of movement--which one can practically breathe In the air of the university where the influence of Archigram and Reyner Banham was strong: in essence, Futurism, Constructivism, and Suprematism. (1) She has followed stubbornly her dream so that she ended by being the only woman in the international architect elite.
He viewed Suprematism as the vehicle for the creation of a new religion.
Ryman has thus updated for the digital age certain of the perceptual strategies one finds in Suprematism, Op Art, and even Frank Stella.
Neue Slowenische Kunst and the Semiotics of Suprematism. En I.
Works are arranged chronologically and thematically, starting with Russian futurism in the early 20th century, suprematism and constructivism in the 1920s, the OBERIU artist-collective of the 1920s and '30s, experimental theater in the 1930s, and the work of Sergei Eisenstein and Dziga Vertov.
(25) Cubism not only became the point of departure for such later movements as Futurism, Suprematism, Constructivism, and De Stijl, and a central influence on two of the pioneers of abstract painting, but its impact went far beyond painting, to sculpture, architecture, cinema, and even to literature and poetry.
From Cubism, which still maintained a figurative approach, to the abstractions of Russian suprematism and De Stijl, modern art attempted to depict and form changing spatial and temporal realities.
(2) The Kabakovs present the audience with a chronological story that traces the creative dialogue of three fictitious artists: Charles Rosenthal, a student of Marc Chagall who attempts to reconcile the pure forms of Suprematism with the socially applied art of Socialist Realism (Figure 1); an alternative Ilya Kabakov, a provincial Soviet artist of the 1970s who finds inspiration in the work of Rosenthal; and Igor Spivak, a Ukrainian artist of the post-Soviet generation who is nostalgic for the straightforward optimism of Soviet socialism.
Reference is made to the work of Casimir Malevich and Russian Constructivism which featured geometric shapes with mathematical intent and the Suprematism movement, in which art, first and foremost, was considered spiritual.