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"In 1913, trying desperately to liberate art from the ballast of the representational world, I sought refuge in the square." - Kasimir Malevich
In Moscow's small cell of earnest intellectuals the atmosphere was ripe for artistic as well as political revolution. After having absorbed the new ideas of CUBISM and FUTURISM (without actually having left Russia), Malevich proposed the purest and most radical NONOBJECTIVE, abstract picture yet seen. It was a pencil drawing and "nothing more than a black square on a white field," he said. He called the drawing Basic Suprematist Element, named its style SUPREMATISM, and explained it as "the supremacy of pure feeling in creative art." Everything else was meaningless. Suprematism became a movement in 1915 when its first paintings were shown. It was visionary and spiritual, and the forms Malevich painted-triangles, squares, circles, irregular bars-float, liberated from constraints of earthbound gravity, in the sense of seriousness as well as of weight. The freest, most sublime series of his compositions are white squares that float on white grounds (e.g., Suprematist Composition: White on White, 1918). "We must prepare ourselves by prayer to embrace the sky," Malevich wrote. Aviation, then in its early years, was part of his inspiration; he described his intention to convey the idea of flight. He also explored architectural ideas with drawings and models that were important to the development of CONSTRUCTIVISM in Russia as well as to the BAUHAUS in Germany.
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