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  • Kazimir Severinovich Malevich
    Feb 23, 1879 - May 15, 1903
  • Suprematism (Supremus No.58. Yellow and Black) - Kazimir Malevich was a Russian painter and art theoretician of Polish descent, pioneer of geometric abstract art and the originator of the Avant-garde Suprematist movement, he was the founder and leading artist of the Suprematist movement, and one of Russia's best-known modern painters. Malevich changed his style several times, from Impressionism to Symbolism, and from Fauvism to Kubism, or Cubo-Futurism.
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Suprematism (Supremus No.58. Yellow and Black)
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  • Suprematism (Supremus No.58. Yellow and Black)

  • Kazimir Severinovich Malevich
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  • 1916
    Oil on canvas
    79.5 x 70.5 cm
    The Russian Museum, St. Petersburg Russia.

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Other paintings by Kazimir Severinovich Malevich:

Suprematism. (Supremus No.56)
Suprematism. (Supremus No.56)
Suprematism 5
Suprematism 5
Suprematism 6
Suprematism 6
Suprematism 7
Suprematism 7
Kazimir Severinovich Malevich(1878 - 1935), founder of the Suprematist school of abstract painting.

Kazimir Severinovich Malevich was initially a follower of Impressionism. He was influenced by Pablo Picasso and Cubism and became a member of the Jack of Diamonds group, whose members were the leading exponents of avant-garde art in pre - World War I Russia. According to the Suprematists, each economic mode of production generated not only a ruling class but also an official artistic style supported by that dominant social class. Deviations from that official style were the products of subordinate classes. All art, prior to the rule of the proletariat, therefore, manifested the ideology of some class. But the revolution would bring about the destruction not merely of the bourgeoisie, but of all classes as such. Consequently, the art of the proletarian revolution must be the expression of not merely another style but of absolute, eternal, "supreme" values.

Constructivism was brought into Soviet avantguard architecture primarily by Vladimir Tatlin and Malevich. Malevich's "Arkhitektonica," Tatlin's Monument to the Third International (the "Tatlin Tower"), and El Lissitsky's "Prouns" shaped in large measure the conceptualizations of the modernist architects as they sought a means to combine painting, sculpture, and architecture. Tatlin's stress on utilitarianism was challenged by Malevich's Suprematism, which decried the emphasis of technology in art and argued that artists must search for "supreme" artistic values that would transform the ideology of the people. Malevich thus contrasted the work of engineers, whose creations exhibited simple transitory values, with aesthetic creativity, which he proclaimed produced supreme values. Malevich warned: "If socialism relies on the infallibility of science and technology, a great disappointment is in store for it because it is not granted to scientists to foresee the 'course of events' and to create enduring values" (Malevich, p. 36). His "White on White" carried Suprematist theories to their logical conclusion. With the turn against modern art under Josef Stalin, Malevich lost influence and died in poverty and oblivion.