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In the work's 39 pages, M alevich argues that reality is an illusion, and that humankind is stuck between the i lluso ry world of objects r epresented by the numerical value 1 and the true objectless reality of the universe r epresented by 0.
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The text is essentially reaction and interpretations concerning the contemporary debates of materialism versus idealism that were spreading across Europe a t the time. Humans live in the world of but their consciou sness can interact with the Thus, humans are in a state of In the words of Adrian Barr, is bound by objectness, restrained by weight, corporeality, and finitude. Yet thought the core process of humankind, is an objectless product of vozbuzhdenie stimulus. The work begins with a chapter introducing Malevich's Theory of the in painting an original scientific theory about the evolution of art forms due to the appearance of a new transf ormative element in art styles.
The simple building blocks are the specific geometric shapes and color tones that make up an art movement. Through the Theory of the art can be broken down into smaller, geometric shapes that characterize the whole overall form of the p ainting. In theory the concept can be applied to any art style in any era, but Malevich specifically examined and isolated the Element s of Impressionism, Cubism, and Suprematism.
PAGE 8 7 posited that t he shape of Impressionism resembles an curve, the Cubist element resembles a sickle, and the Suprematist element is the straight line.
See Fig. Malevich developed this theory in the early s while conducting experiments and studying the artistic development of his own students.
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Inspired by scientific breakthroughs in the early 20 th century, specifically the identification of tuberculosis bacilli by biologist Robert Koch 12 Malevich described the process of artistic development like a bacteria infecting an organism. Malevich had very personal reasons for the interest in tuberculosis bacilli: h e had contracted the disease himself while teaching in Vitebsk modern day Belarus. Later in his life he would encounter tuberculosis again, this time in his second wife Sofiia Rafalovich who died as a result 13 charts on the Elemen are similar in form to a petri dish or the lens of a microscope; the Element s are isolated in small white circles.
T h e essentially forces artists to begin to paint in new ways, thus moving art along its natural progression towards a new A later chapter about Suprematism describes Malevich's disdain for utilitarian art very clearly a jab at the popularity and u ltimate victory of Constructivism over Suprematism in Russian art circles 14 and the role of Suprematism 12 Charlotte Douglas, Kazimir Malevich Many of the myths in the West surrounding Malevich can be traced to El Lissitzky. El Lissitzky was a key figure in the transmission of ideas from Russia to Germany.
El Lissitzky respected Malevich, but in transmitting and translating his works for a western audience, Lissitzky commonly adapted language to be more palatable f or westerners, thus distorting the original message. PAGE 9 8 in bringing the art world to true creation.
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After explaining the basic tenets of Malevich's philosophy in the s I will explain how his Figurative Suprematist paintings represent it. I have chosen to refer to his later paintings as "Figurative Suprematism" to emphasize the continuity between the figures in his later works and his Suprematist works. I will argue that these characteristics are clearly indicative of Malevich's s philosophy and are intentionally included. Section I Brief Biography: The Importance of the Pe asant Analysis of Malevich's childhood is possible due to the compilation and translation of his autobiographical notes from 16 The autobiography provides important insight into how his childhood in the Ukrainian countryside permeated his life.
Since the auto biography was written in it falls within the key moment where Malevich was painting his Figurative Suprematist works, and can thus reflect how he viewed his personal artistic development up until that time. However it is difficult to determine whether Malevich really felt the way he did in his early life or if his words are later reflections on his artistic career.
Malevich is notorious for reinterp reting 15 Other scholars have referred to these paintings with the following ter ms: Post Suprematism, the Second Peasant Cycle, and Object Suprematism. I have chosen Figurative Suprematism to emphasize continuity with Suprematism while remaining clear about the inclusion of figures in his new art. PAGE 10 9 his own works to fit an artistic devel opment that he deems l ogical.
Throughout his childhood until he moved to Kursk at the age of seventeen Malevich always lived in rural Ukrainian factory towns. Malevich grew up in the world of nature and the world of the factory: literally stuck between the old world and modernity that permeated his life's work. Malevich began painting because of his fascination with nature and paint as a medium in and of itself.
He was inspired by what he found around him: the scenes of peasant lif e in a rural U kraini an village. His childhood was f illed with the images of Orthodox Icons, peasant garments, and the bright colors, shapes, and lively patterns of folk designs. His v illage's economy was centered on agriculture and beet sugar production, and the popul ation was separated primarily into factory workers and peasant farmers. Although he was the son of a prominent factory worker, Malevich vastly preferred the peasant life over the factory. He liked the natural order of the peasants who toiled outside in the fresh air, rising to work at sunrise and stopping at sunset.
He saw their work as cheerful and natural, and loved how the people would sing songs as they worked the fields. He was commonly bullied by the peasant children for being a son of a factory worker, but he was eventually able to assimilate with those he was enchanted by. His love of the Ukrainian countryside and peasant folk art was his first exposure to art at a time when he didn't 17 Malevich purposely backdated many of his paintings according to when he came up with the idea or when he was experim enting within a certain style.
Impressionist works done in the early s were purposely dated to the first decade of the s, when primary style was Impressionism. The invention of Suprematism was backdated to when it was really in 1 Black Square has been presented as the first Suprematist canvas despite this not being the case. See in Rethinking Malevich xvi xviii. PAGE 11 10 know what "art" was. Malevich hated the dull and droning attributes of factory life but he was fascinated by wonders of machinery. He feared them for what they could do, referrin g to them as "predatory beasts," but the whirring mechanical parts and movem ent enchanted him.
From an early age Malevich realized that the primary difference between the factory workers and peasants was art. In his own words, "The former did not draw, they didn't know how to decorate their houses, they did not do art, as I would put it today. But all the peasants did. In Moscow Mal evich would forgo Futurism, the art of the factory, machinery and movement, in favor of inspiration from the old peasant art. Though many of his art forms were modern, they were steeped in the tradition of peasants.
M alevich in clear ly continued to b elieve that his childhood had a tremendous impact on his artistic career. Throughout his whole life Malevich was free from any real formal education, thus he was isolated from the traditions of conventional learning. This helped Malevich maintain a unique way of understanding the world around him. His choppy language and sometimes confusing writing style reflected this and often led crit ics to believe he was ignorant. When Malevich only first beg an to paint as a youth, he painted peasant scenes and 19 Ibid. Kandinsky was from a much more prestigious upbringing than Malevich, and held more cosmopolitan ideas about art.
Despite this fundamental difference, the two artists came to similar conclusions on the nature of art. PAGE 12 11 subjects of peasant folklore. As a child he painted horses and land scapes in t he peasant tradition, helping sm ear clay on the floors and paint the stoves. He and his friend watched every brushstroke with eager eyes absolutely enraptured by the act itself 23 Soon after, Malevich would move to Kursk and become involve d with the painting scene there, forming the Kursk Society of Art Lovers with his friend Lev Kvachevsky.
However happy Malevich may have been in Kursk with his friends, he was drawn a wolf to the to Moscow and St. Petersburg, there lived the real 24 For Malevich, unless one went to Moscow or St Petersburg, "no one could become an artist; he would get lost in the provinces. I n , at the age of twenty six, Malevich left Kursk to seek formal ar t training in Moscow. From then until , when he finally moved his mother and family to Moscow with him 26 Malevich moved seasonally from Kursk to work in the spring to Moscow to live in an artists' commune in the fall.
In Malevich left Kursk as an Impressionist; Moscow would allow his art to blossom. It is likely that Malevich was acutely aware of Western artists while in Moscow through his contact with his teachers, art salons, exhibitions, and art journals that were available to Russian artists at the time. However, it was the art of icons that inspired a major stylistic shift. Exposur e to Russian icons elicited nostalgi a of his Ukrainian village: he found 22 Malevich, Malevich valued his opinion of his works very highly.
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PAGE 13 12 himself moved by the emotional creativity inherent in the icons. This moment is when he realized the link between art and peasantry. The creative urge and inspirations of his childhood could be found in icons. The painter's color and attitude. The icon painter paints according to their feelings and personal aesthetics.
The overall composition of the icon was up to the painter, for when a church commissioned an icon it said nothing about the perspective of buildings, the relationships of scale among objects, of people to houses, mountains, and vistas, nothing about anatomy or air. General representation was no longer enough in the later society: Naturalist realism or aestheticism became the required norm.
With this shift, emotional creativity became enslaved by the bounds of realistic f orm. Malevich was not the only modernist painter to make these connections between icon painting and peasant art. Malevich corresponded with prominent Neo Primitivist painters Natalia Goncharova and Mikhail Larionov who were also e xplicitly interes ted in peasant art in the s.
Goncharova and Larionov had come to know Malevich through the Jack of Diamonds exhibitions that they all participated in. The Jack of Diamonds exhibition was first major exhibition in Moscow, and though his works received little attention, it was here that he made contact with Goncharova and Larionov for the first time. Goncharova and Larionov 27 Malevich, This group focused first and foremost on the assertion of Russianness in art 30 experiment ing with Neo Primitivism a style characterized by its heavy weight, somber subjects, inspiration from icons, and simplisti c features See Figs.
In their words, put forth in their brochure at their exhibition, "The Russian village is significantly more cultured than the city. Of course, the city is the focus of external civilization and the country's mental strength, but if we speak o f culture as a unique spiritual wealth, there is more of it in the countryside and the proof of that is that village art stands higher than urban art and has done so for two centuries.
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Malevich was heavily influenced by works, and he explained that the difference between the Tail and Jack of Dia monds was that and I worked more on the peasant level. Every work of ours had a content, which although expressed in primitive form, expressed a social concern. This was the basic difference between us and the Knave of Diamonds group which wa s working in the line of C 32 As mentioned in the previous paragraph, Malevich e xperiment ed with Cubo Futurism and Neo Primitivism simultaneously His art at this time reflected the duality of his youth: he painted both icon inspired peasants laboring in the fields and people fragmented with the speed of industry.
This exhibition featured 30 Gray, The Great Experiment Zaum was supposedly a level of consciousness that was only accessible to those with a highly e volved level of perception.
The zaum concept of revealing the w orld beyond reality would be an essential element of later philosophy. Malevich collaborated with Matiushin and Kruchenykh in the creation of the first Cubo Fut u rist opera, Victory o ver the Sun in Malevich designed the sets and costumes for the opera, experimen ting extensively wi th the distortion of light and space. By defeating the sun, humankind is liberated from the chains of rationality.