The color blocks were the subject matter, the white was equal to infinite space and their interactions relative to each other were the movement. The shapes were not arranged in arbitrary patterns, but rather so that a message came out of their organization. In elevating his paintings Malevich disconnected his works from the earth. He explains: "my new painting does not belong to the earth exclusively." He wanted to elevate his paintings to a new level; perhaps, a fourth dimension. .
Malevich's use of motion was consistent with the on going progress of science at the time. During this period, Einstein's Theory of Relativity was gaining further support. The way Malevich depicted motion was simply how one geometric shape's position was oriented relative to another shape. .
During 1915 Malevich also produced paintings relying solely on the textural manipulation of white, a development also considered mystical by Aleksandr Rodchenko and other followers. Malevich formed a Suprematist group, Supremus, with Ivan Puni (Jean Pougny), Mikhail Menkov, Ivan Klyun, Kseniya Boguslavskaya (1892-1972) and Ol'ga Rozanova; Nadezhda Udal'tsova also collaborated on the projected magazine Supremus. Malevich's rejection of representational imagery was widely influential, and his study of the dynamics of geometrical form in pictorial space had an investigative element, as did the subsequent non-objective art pursued by Lyubov Popova, Gustav Klucis, Rodchenko, Klyun and El Lissitzky in particular. In the early years following the Revolution of 1917, suprematism was widely explored, discussed and developed, dominating the avant-garde in Russia. The pervasive influence of Malevich's work was seen in particular at the art exhibition held in Moscow in 1919. Later that year Malevich moved to Vitebsk and formed the Unovis group, converting El Lissitzky to suprematism and opening the way to Suprematist design. .
In 1922 El Lissitzky, who had worked closely with Malevich at Vitebsk, left Russia for western Europe.
RUSSIAN REVOLUTIONARY AVANT-GARDE The avant-garde way of life prospered in Russia directly following the Revolution of 1917, generating one of the most awe-inspiring art movements of the twentieth century. Assembling an entirely new government, the Bolsheviks gave free reign to the Russian avan...
Malevich saw Suprematism as representing a yearning for space, an impulse to break free from the globe of the earth. ... They created a lot of interest and he coined the term Constructivism. ... They were looking for the official proletarian art and, although suprematism had some ideas they could use, Constructivism was looking better and better. ... By the 1920s, Constructivism became the dominant art primarily because they were able to fuse poster art with fine art and make it accessible to the masses. ... The government saw Constructivism as a tool and all other art as Art. ...
Malevich saw Suprematism as representing a yearning for space, an impulse to break free from the globe of the earth. ... They created a lot of interest and he coined the term Constructivism. ... They were looking for the official proletarian art and, although suprematism had some ideas they could use, Constructivism was looking better and better. ... By the 1920s, Constructivism became the dominant art primarily because they were able to fuse poster art with fine art and make it accessible to the masses. ... The government saw Constructivism as a tool and all other art as Art. ...
Almost entirely devoted to his now traditional subjects - the artist at work and play, the circus, the bullfight, and women - Picasso drew with pencil, pen, felt pen, and the tools of the etcher and engrave Cubism in 20th Century Cubism was one of the strongest art movements in the 20th century that gave birth to many other movements such as futurism and suprematism. ... œThey now pinned less faith on the power of new subject matter and strove to complement their colour divisionism with fragmentation of the cub...
"Music illuminates a person through and through. It is also his last hope and final refuge. And even half mad Stalin, a beast and a butcher, instinctively sensed that about music. That is why he feared and hated it." - Dmitri Shostakovich On November 7, 1917, the Russian Bolsheviks stormed the Win...