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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 ?
For example, good and bad guys almost literally wear white and black hats in the showdown between Russian suprematist painter Malevich (of the white on white canvases) and his Stirner-quoting rival painter Rodchenko (of the black on black ones) at Russia's 1919 "Tenth State Exhibition of Nonobjective Creation and Suprematism.
According to Clark, true modernism and true socialism came closest to fruition in the art of Suprematism, and with UNOVIS, the cultural arm of radical Bolshevik intellectuals and artists led by Kasimir Malevich and El Lissitzky.
The idea behind what Malevich called Suprematism is that you cannot carry things beyond Black Square.
Malevich, renowned as one of the seminal forces behind abstract, non-objective art, is also the subject of an exhibit, "Kazimir Malevich: Suprematism," which was seen by a record 70,000 visitors at the Deutsche Guggenheim Berlin in its debut presentation.
He was much more well-known for his totally abstract Proun series, which were among the founding objects of Russian Suprematism, an extreme avant-garde movement.
The first, "Kasimir Malevich's Black Square and the Genesis of Suprematism," was published in 1981 and is about the Russian founder of suprematism, an art movement of the early 1900s.
Refuting common claims that Samjatin's We was impacted by Stalinism, Saage argues that the author was instead reacting negatively to the utopian aspirations--expressed in geometric form--of the Russian leftist and aesthetic avant-garde known as suprematism.
After the Communist there follows finally the Testament of Suprematism.
In his manuscript on suprematism, which Malevitch left behind in Berlin when he left the city abruptly in 1927, the critique of representative art is linked to the critique of a culture that has sundered man from his oneness with nature: portraits are neither as living as people themselves, nor as truly artistic as an art that has been purged of any taint that is foreign to art.
Malevich proclaimed a straight line tracing a path in an expanse of points as the main gene of Suprematism - a Russocentric offshoot of Cubism and Futurism - and Khlebnikov proclaimed a new `transrational language', cleansed of meaning in a state of primitive inarticulation.
Along with white suprematism, The Klansman promotes fear of government, especially the IRS (which is termed the "Internal Repression System"), and advocates a return to the Constitution "as it was originally written.
Going all the way back to Malevich writing on suprematism.