Difference between revisions of "Suprematism"
| Line 1: | Line 1: | ||
"Suprematism is the art of colour", wrote [[Kazimir Malevich]]. These are the colours of light in space as seen by the eye. Hence, they are arranged according to the laws of the prismatic spectrum, as in Impressionism. Red, orange, yellow are found at the light end of the spectrum and in light. Green, blue and violet are found at the dark end of the spectrum and in shadow. As colours appear between light and dark, these two phenomena are represented by white and black in Suprematist paintings. The ground of Malevich's Suprematist paintings is white because it is a field of light. His students such as [[Ilya Chasnik]] and [[Nikolai Suetin]] often began with a field of darkness – a black ground – out of which coloured forms appeared. Of Malevich's fellow-Suprematists there were [[Ivan Kliun]], [[Olga Rozanova]], [[Mikhail Menkov]], and [[Ivan Puni]] with whom he first showed Suprematist paintings in 1915 at the Last Futurist Exhibition of Paintings [[0.10]], Petrograd. Most of the Non-Objective painters also went through a Suprematist phase in their work. Around 1918, Malevich began to reinterpret Suprematism, seeing its stages as vehicles of states of consciousness. He described this as 5 "phases": the Static Sensation, the Dynamic Sensation, the Magnetic Sensation, the Sensation of Non-Existence, and the Sensation of Absolute Non-Objectivity. 1915 to mid-1920s. (Patricia Railing) | "Suprematism is the art of colour", wrote [[Kazimir Malevich]]. These are the colours of light in space as seen by the eye. Hence, they are arranged according to the laws of the prismatic spectrum, as in Impressionism. Red, orange, yellow are found at the light end of the spectrum and in light. Green, blue and violet are found at the dark end of the spectrum and in shadow. As colours appear between light and dark, these two phenomena are represented by white and black in Suprematist paintings. The ground of Malevich's Suprematist paintings is white because it is a field of light. His students such as [[Ilya Chasnik]] and [[Nikolai Suetin]] often began with a field of darkness – a black ground – out of which coloured forms appeared. Of Malevich's fellow-Suprematists there were [[Ivan Kliun]], [[Olga Rozanova]], [[Mikhail Menkov]], and [[Ivan Puni]] with whom he first showed Suprematist paintings in 1915 at the Last Futurist Exhibition of Paintings [[0.10]], Petrograd. Most of the Non-Objective painters also went through a Suprematist phase in their work. Around 1918, Malevich began to reinterpret Suprematism, seeing its stages as vehicles of states of consciousness. He described this as 5 "phases": the Static Sensation, the Dynamic Sensation, the Magnetic Sensation, the Sensation of Non-Existence, and the Sensation of Absolute Non-Objectivity. 1915 to mid-1920s. (Patricia Railing) | ||
| + | |||
| + | ; Literature | ||
| + | * Aaron Scharf, [[Media:Scharf_Aaron_1966_1994_Suprematism.pdf|"Suprematism"]] [1966], in ''Concepts of Modern Art'', 3rd ed., ed. Nikos Stangos, Thames & Hudson, 1994. {{en}} | ||
; See also | ; See also | ||
Revision as of 13:17, 5 August 2015
"Suprematism is the art of colour", wrote Kazimir Malevich. These are the colours of light in space as seen by the eye. Hence, they are arranged according to the laws of the prismatic spectrum, as in Impressionism. Red, orange, yellow are found at the light end of the spectrum and in light. Green, blue and violet are found at the dark end of the spectrum and in shadow. As colours appear between light and dark, these two phenomena are represented by white and black in Suprematist paintings. The ground of Malevich's Suprematist paintings is white because it is a field of light. His students such as Ilya Chasnik and Nikolai Suetin often began with a field of darkness – a black ground – out of which coloured forms appeared. Of Malevich's fellow-Suprematists there were Ivan Kliun, Olga Rozanova, Mikhail Menkov, and Ivan Puni with whom he first showed Suprematist paintings in 1915 at the Last Futurist Exhibition of Paintings 0.10, Petrograd. Most of the Non-Objective painters also went through a Suprematist phase in their work. Around 1918, Malevich began to reinterpret Suprematism, seeing its stages as vehicles of states of consciousness. He described this as 5 "phases": the Static Sensation, the Dynamic Sensation, the Magnetic Sensation, the Sensation of Non-Existence, and the Sensation of Absolute Non-Objectivity. 1915 to mid-1920s. (Patricia Railing)
- Literature
- Aaron Scharf, "Suprematism" [1966], in Concepts of Modern Art, 3rd ed., ed. Nikos Stangos, Thames & Hudson, 1994. (English)
- See also
