Kazimir Malevich Biography, Art, and Analysis of Works | The Art Story Web Services & Hosting by The Computer Studio | Designed by DesArtLab Suprematism Suprematism Suprematism, the invention of Russian artist Kazimir Malevich, was one of the earliest and most radical developments in abstract art. Inspired by a desire to experiment with the language of abstract form, and to isolate art's barest essentials, its artists produced austere abstractions that seemed almost mystical. It was an important influence on Constructivism. Cubism Cubism Cubism was developed by Pablo Picasso and Georges Braque between 1907-1911, and it continued to be highly influential long after its decline. This classic phase has two stages: 'Analytic', in which forms seem to be 'analyzed' and fragmented; and 'Synthetic', in which pre-existing materials such as newspaper and wood veneer are collaged to the surface of the canvas. Futurism Futurism Futurism was the most influential Italian avant-garde movement of the twentieth century. Dedicated to the modern age, it celebrated speed, movement, machinery and violence.

At first influenced by Neo-Impressionism, and later by Cubism, some of its members were also drawn to mass culture and nontraditional forms of art. Impressionism Impressionism A movement in painting that first surfaced in France in the 1860s, it sought new ways to describe effects of light and movement, often using rich colors. The Impressionists were drawn to modern life and often painted the city, but they also captured landscapes and scenes of middle-class leisure-taking in the suburbs. Post-Impressionism Post-Impressionism Post-Impressionism refers to a number of styles that emerged in reaction to Impressionism in the 1880s. The movement encompassed Symbolism and Neo-Impressionism before ceding to Fauvism around 1905. Its artists turned away from effects of light and atmosphere to explore new avenues such as color theory and personal feeling, often using colors and forms in intense and expressive ways. Symbolism Symbolism Symbolism is an artistic and literary movement that first emerged in France in the 1880s. In the visual arts it is often considered part of Post-Impressionism.

It is characterized by an emphasis on the mystical, romantic and expressive, and often by the use of symbolic figures. Art Nouveau Art Nouveau Art Nouveau was a movement that swept through the decorative arts and architecture in the late nineteenth and early twentieth centuries. Generating enthusiasts throughout Europe, it was aimed at modernizing design and escaping the eclectic historical styles that had previously been popular. It drew inspiration from both organic and geometric forms, evolving elegant designs that united flowing, natural forms with more angular contours. Wassily Kandinsky Wassily Kandinsky A member of the German Expressionist group Der Blaue Reiter, and later a teacher at the Bauhaus, Kandinsky is best known for his pioneering breakthrough into expressive abstraction in 1913. His work prefigures that of the American Abstract Expressionists. David Burliuk David Burliuk David Burliuk was a Russian Futurist poet and painter. He was responsible for intensifying the debate on the primary function of fine art, believing deeply in the power of art as a reforming social force. Mikhail Larionov Mikhail Larionov Mikhail Larionov was a Russian avant-garde painter and the founder of Rayonism, the first movement that celebrated Russian abstract painting.

Larionov was also a major promoter of Post-Impressionist and Neo-Primitive art during the early twentieth century, and helped widen the international appeal of artists like Matisse, Van Gogh, and Gauguin. Primitive Art Primitive Art Nineteenth- and twentieth-century artists in the West were greatly influenced by art they deemed 'primitive' or 'naïve', made by tribal or non-Western cultures. Such art, ranging from African and Native American to naive depictions of the French peasantry, was thought to be less civilized and thus closer to raw aesthetic and spiritual experience. Cubo-Futurism Cubo-Futurism Cubo-Futurism was a painting and sculpture movement associated with the Russian Futurists, who in the early part of the twentieth century adopted the teachings and styles of the Italian Futurists and combined them with the Parisian Cubism of Picasso and Braque. Among the more well-known artists associated with Cubo-Futurism are Alexander Archipenko, Wladimir Baranoff-Rossine, and Sonia Terk. Marc Chagall Marc Chagall Marc Chagall was a Russian-born, Jewish-French artist that reached great popularity during the twentieth century.

Although his art is associated with several movements, Chagall is commonly grouped in with the German Expressionists. Much of his early work was credited with synthesizing visual elements of Cubism, Symbolism and Fauvism. Social Realism Social Realism Social Realism refers to a style of figurative art with social concerns - generally left-wing. Inspired in part by nineteenth-century Realism, it emerged in various forms in the twentieth century. Political radicalism prompted its emergence in 1930s America, while distaste for abstract art encouraged many in Europe to maintain the style into the 1950s. Alfred H. Barr, Jr. Alfred H. Barr, Jr. Alfred H. Barr, Jr. was an American art historian, collector, and the first director of The Museum of Modern Art. Barr was very influential in MoMA's early years, arranging seminal exhibitions of works by Van Gogh, Léger, the Post-Impressionists and the Cubists. Lyubov Popova Lyubov Popova Lyubov Popova was an eminent Russian avant-garde artist, painter, and designer.

Her work was important for several modern styles, including Cubism, Suprematism, and Constructivism. Alexander Rodchenko Alexander Rodchenko Aleksander Rodchenko was a Russian artist, sculptor, photographer, and graphic designer. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles - usually high above or below - to shock the viewer and to postpone recognition. He was one of the founders of Constructivism and Russian design; he was married to the artist Varvara Stepanova. El Lissitzky El Lissitzky El Lissitzky was a Russian avant-garde painter, photographer, architect and designer. Along with his mentor Kazimir Malevich, Lissitzky helped found Suprematism. His art often employed the use of clean lines and simple geometric forms, and expressed a fascination with Jewish culture. Lissitzky was also a major influence on the Bauhaus school of artists and the Constructivist movement. Ad Reinhardt Ad Reinhardt Ad Reinhardt was an American abstract artist whose monochromatic canvases show side-by-side rectangles painted in subtle variations of the same color.

Very much part of the New York scene in the 1940s, he nonetheless scorned the label and gestural ethos of Abstract Expressionism. Minimalism Minimalism Minimalism emerged as a movement in New York in the 1960s, its leading figures creating objects which blurred the boundaries between painting and sculpture, and were characterized by unitary, geometric forms and industrial materials. Emphasizing cool anonymity over the passionate expression of the previous generation of painters, the Minimalists attempted to avoid metaphorical associations, symbolism, and suggestions of spiritual transcendence. Paul Cézanne Paul Cézanne Paul Cézanne was an influential French Post-Impressionist painter whose depictions of the natural world, based on internal geometric planes, paved the way for Cubism and later modern art movements. Pablo Picasso Pablo Picasso Picasso dominated European painting in the first half of the last century, and remains perhaps the century's most important, prolifically inventive, and versatile artist. Alongside Georges Braque, he pioneered Cubism. He also made significant contributions to Surrealist painting and media such as collage, welded sculpture, and ceramics.

Henri Matisse Henri Matisse Henri Matisse was a French painter and sculptor who helped forge modern art. From his early Fauvist works to his late cutouts, he emphasized expansive fields of color, the expressive potential of gesture, and the sensuality inherent in art-making. Fauvism Fauvism Fauvism was an early twentieth-century art movement founded by Henri Matisse and André Derain. Labeled as "wild beasts", Fauve artists favored vibrant colors and winding gestural strokes across the canvas. Byzantine Art Byzantine Art Byzantine Art is a broad category that covers work made within the Byzantine Empire, from the fourth to the fifteenth centuries. Mosaics, icons, and panel paintings frequently include hieratic depictions of Christian figures and symbols, and make use of a flattened, elongated style. Marcel Duchamp Marcel Duchamp The French artist Marcel Duchamp was an instrumental figure in the avant-garde art worlds of Paris and New York. Moving through Dada, Surrealism, readymades, sculpture, and installation, his work involves conceptual play and an implicit attack on bourgeois art sensibilities.

Paul Klee Paul Klee The Swiss-born painter Paul Klee worked in a variety of styles, including Expressionism, geometric abstraction, and collage. His most famous works have a mystical quality and make use of linear and pictorial symbols. Constructivism Constructivism Russian Constructivism emerged with the Revolution of 1917 and sought a new approach to making objects, one which abolished the traditional concern with composition and replaced it with 'construction,' which called for a new attention to the technical character of materials. It was hoped that these inquiries would yield ideas for mass production. The movement was an important influence on geometric abstraction. Conceptual Art Conceptual Art Conceptual art describes an influential movement that first emerged in the mid-1960s and prized ideas over the formal or visual components of traditional works of art. The artists often challenged old concepts such as beauty and quality; they also questioned the conventional means by which the public consumed art; and they rejected the conventional art object in favor of diverse mediums, ranging from maps and diagrams to texts and videos.

1000+ images about Kazimir Malevich on Pinterest | Constructivism, Oil on canvas and Museums Forward Name: Kasimir Malevich, Date: 1916 Style:'Suprematism'. Main Feature: focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. Simple shapes that we usually see in daily life. Relation: Kasimir had put simple shape to use to form a clear image that allows audiences to figure out the meaning of it. See More Design Haven | History of Modern Art: Suprematism and Constructivism - Make your ideas Art History of Modern Art: Suprematism and Constructivism Creative Market Disclosure of Material Connection: Some of the links in Design Haven and the post below are "affiliate links". This means that if you click on the link and purchase the item, I might receive an affiliate commission. Regardless, I only recommend products I would personally use and believe that add value. Just thought to give you the heads up ;) Previous Post Posts The Suprematism Movement Suprematism was an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors.

It was founded by Kazimir Malevich in Russia, in 1915. The term suprematism refers to an art based upon “the supremacy of pure artistic feeling” rather than on visual depiction of objects. Kazimir Malevich – Supremus No. 58 Kasimir Malevich originated Suprematism when he was an established painter having exhibited in the Donkey’s Tail and the Der Blaue Reiter (The Blue Rider) exhibitions of 1912 with cubo-futurist works. The proliferation of new artistic forms in painting, poetry and theatre as well as a revival of interest in the traditional folk art of Russia provided a rich environment in which a Modernist culture was born. In “Suprematism” (Part II of his book The Non-Objective World, which was published 1927 in Munich as Bauhaus Book No. 11), Malevich clearly stated the core concept of Suprematism: “Under Suprematism I understand the primacy of pure feeling in creative art.

To the Suprematist, the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.” He created a suprematist “grammar” based on fundamental geometric forms; in particular, the square and the circle. In the 0.10 Exhibition in 1915, Malevich exhibited his early experiments in suprematist painting. The centerpiece of his show was the Black Square, placed in what is called the red/beautiful corner in Russian Orthodox tradition ; the place of the main icon in a house. “Black Square” was painted in 1915 and was presented as a breakthrough in his career and in art in general. Malevich also painted White on White which was also heralded as a milestone. “White on White” was a breakthrough from polychrome to monochrome Suprematism.

On video: Discussion about Monet’s Cliff Walk at Pourville ( Impressionism ) and Malevich’s White on White (Suprematism) The Constructivism movement Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music. Vladimir Mayakovsky – Agitprop Poster The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko in 1917.Constructivism first appears as a positive term in Naum Gabo’s Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed in 1922.

Recommended: Masters of Art: Jusepe de Ribera (1591 - 1652) Constructivism was a post-World War I development of Russian Futurism , and particularly of the ‘corner-counter reliefs’ of Vladimir Tatlin, which had been exhibited in 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. IZO, the Commissariat’s artistic bureau, was managed during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune. Constructivism in Moscow was represented by VKhUTEMAS, the school for art and design established in 1919. Gabo later stated that teaching at the school emphasized political and ideological discussion rather than art-making. Despite this, Gabo himself designed a radio transmitter in 1920 (and would submit a design to the Palace of the Soviets competition in 1930).

As much as involving itself in designs for industry, the Constructivists worked on public festivals and street designs for the post-October revolution Bolshevik government. Perhaps the most famous of these was in Vitebsk, where Malevich’s UNOVIS Group painted propaganda plaques and buildings (the best known being El Lissitzky’s poster Beat the Whites with the Red Wedge (1919)). Inspired by Vladimir Mayakovsky’s declaration ‘the streets our brushes, the squares our palettes’, artists and designers participated in public life during the Civil War. A striking instance was the proposed festival for the Comintern congress in 1921 by Alexander Vesnin and Liubov Popova, which resembled the constructions of the OBMOKhU exhibition as well as their work for the theatre. There was a great deal of overlap during this period between Constructivism and Proletkult, the ideas of which concerning the need to create an entirely new culture struck a chord with the Constructivists. In addition some Constructivists were heavily involved in the ‘ROSTA Windows’, a Bolshevik public information campaign of around 1920.

Some of the most famous of these were by the poet-painter Vladimir Mayakovsky and Vladimir Lebedev. What is the difference of Constructivism and Suprematism? Malevich’s Suprematism is fundamentally opposed to the post-revolutionary positions of Constructivism and materialism. Constructivism, with its cult of the object, is concerned with utilitarian strategies of adapting art to the principles of functional organization. Under Constructivism, the traditional easel painter is transformed into the artist-as-engineer in charge of organizing life in all of its aspects. Recommended: Life and Paintings of Francesco Hayez (1791 – 1881) Suprematism, in sharp contrast to Constructivism, embodies a profoundly anti-materialist, anti-utilitarian philosophy. In “Suprematism” (Part II of The Non-Objective World), Malevich writes: Art no longer cares to serve the state and religion, it no longer wishes to illustrate the history of manners, it wants to have nothing further to do with the object, as such, and believes that it can exist, in and for itself, without “things” (that is, the “time-tested well-spring of life”).

Jean-Claude Marcadé has observed that “Despite superficial similarities between Constructivism and Suprematism, the two movements are nevertheless antagonists and it is very important to distinguish between them.” According to Marcadé, confusion has arisen because several artists – either directly associated with Suprematism such as El Lissitzky or working under the suprematist influence as did Rodchenko and Liubov Popova – later abandoned Suprematism for the culture of materials. Suprematism does not embrace a humanist philosophy which places man at the center of the universe. Rather, Suprematism envisions man – the artist – as both originator and transmitter of what for Malevich is the world’s only true reality – that of absolute non-objectivity. …a blissful sense of liberating non-objectivity drew me forth into a “desert”, where nothing is real except feeling… (“Suprematism”, Part II of The Non-Objective World) For Malevich, it is upon the foundations of absolute non-objectivity that the future of the universe will be built – a future in which appearances, objects, comfort, and convenience no longer dominate.

Legacy and Influence of Constructivism The Constructivists were early developers of the techniques of photomontage. Gustav Klutsis’ ‘Dynamic City’ and ‘Lenin and Electrification’ (1919–20) are the first examples of this method of montage, which had in common with Dadaism the collaging together of news photographs and painted sections. However Constructivist montages would be less ‘destructive’ than those of Dadaism. Perhaps the most famous of these montages was Rodchenko’s illustrations of the Mayakovsky poem About This. LEF also helped popularise a distinctive style of photography, involving jagged angles and contrasts and an abstract use of light, which paralleled the work of Laszlo Moholy-Nagy in Germany: the major practitioners of this included, along with Rodchenko, Boris Ignatovich and Max Penson, among others. This also shared many characteristics with the early documentary movement. Meanwhile LEF produced an architectural version, the OSA group directed by Alexander Vesnin and Moisei Ginzburg – for more information see Constructivist architecture.

Alexander Rodchenko – An advertising construction The book designs of Rodchenko, El Lissitzky and others such as Solomon Telingater and Anton Lavinsky were a major inspiration for the work of radical designers in the West, particularly Jan Tschichold. Many Constructivists worked on the design of posters for everything from cinema to political propaganda: the former represented best by the brightly coloured, geometric posters of the Stenberg brothers (Georgii and Vladimir Stenberg), and the latter by the agitational photomontage work of Gustav Klutsis and Valentina Kulagina. Recommended: Life and Paintings of Thomas Gainsborough (1727 - 1788) A number of Constructivists would teach or lecture at the Bauhaus schools in Germany, and some of the VKhUTEMAS teaching methods were adopted and developed there. Gabo established a version of Constructivism in England during the 1930s and 1940s that was adopted by architects, designers and artists after World War I (see Victor Pasmore), and John McHale. Joaquín Torres García and Manuel Rendón were instrumental in spreading Constructivism throughout Europe and Latin America.

Constructivism had an effect on the modern masters of Latin America such as: Carlos Mérida, Enrique Tábara, Aníbal Villacís, Theo Constanté, Oswaldo Viteri, Estuardo Maldonado, Luis Molinari, Carlos Catasse, João Batista Vilanova Artigas and Oscar Niemeyer, to name just a few. There have also been disciples in Australia, the painter George Johnson being the best known. In the 1980s graphic designer Neville Brody used styles based on Constructivist posters that initiated a revival of popular interest. Also during the 1980s designer Ian Anderson founded The Designers Republic, a successful and influential design company which uses constructivist principles. So-called Deconstructivist architecture was developed by architects Zaha Hadid, Rem Koolhaas and others during the late 20th and early 21st centuries. Zaha Hadid by her sketches and drawings of abstract triangles and rectangles evokes the aesthetic of constructivism. Though similar formally, the socialist political connotations of Russian constructivism are deemphasized by Hadid’s deconstructivism. Rem Koolhaas’ projects revive another aspect of constructivism.

The scaffold and crane-like structures represented by many constructivist architects are used for the finished forms of his designs and buildings. Cinematic influences include Bulgarian born animator Theodore Ushev’s 2006 brief film Tower Bawher. Inspired by Russian constructivist art, the animated short features visual references to artists of the era including Vertov, Stenberg, Rodchenko, Lissitsky and Popova. Hope you enjoyed the article as much as i did compiling the info and the images! See you next time! Articles ’ Images are in the public domain because their copyright has expired or are displayed here under the “ fair use” copyright law, and are available through Wikipedia & Wikimedia . This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia . (Visited 2,053 times, 2 visits today) SCAN THIS QR CODE WITH YOUR PHONE Close Suprematism : Wikis (The Full Wiki) The Full Wiki Advertisements Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles .

Related top topics From Wikipedia, the free encyclopedia Not to be confused with supremacism . Black Square ( Malevich , 1915) Black Circle ( Malevich , 1915) Suprematism ( Russian : Супрематизм): is an art movement focused on fundamental geometric forms (in particular the square and circle) which formed in Russia in 1915-1916. It wasn't until later that suprematism received conventional museum preparations. When Kasimir Malevich originated Suprematism in 1915 he was an established painter having exhibited in the Donkey's Tail and the Der Blaue Reiter (The Blue Rider) exhibitions of 1912 with cubo-futurist works. The proliferation of new artistic forms in painting, poetry and theatre as well as a revival of interest in the traditional folk art of Russia were a rich environment in which a Modernist culture was being born.

In his book The Non-Objective World, which was published abroad as a Bauhaus Book in 1927, Malevich described the inspiration which brought about the powerful image of the black square on a white ground: I felt only night within me and it was then that I conceived the new art, which I called Suprematism. Malevich also ascribed the birth of suprematism to Victory Over the Sun , Kruchenykh 's Futurist opera production for which he designed the sets and costumes in 1913. One of the drawings for the backcloth shows a black square divided diagonally into a black and a white triangle. Because of the simplicity of these basic forms they were able to signify a new beginning. He created a suprematist 'grammar' based on fundamental geometric forms; in particular, the square and the circle. In the 0.10 Exhibition in 1915, Malevich exhibited his early experiments in suprematist painting. The centerpiece of his show was the Black Square , placed in what is called the red/beautiful corner in Russian Orthodox tradition ; the place of the main icon in a house.

"Black Square" was painted in 1915 and was presented as a breakthrough in his career and in art in general. Malevich also painted White on White which was also heralded as a milestone. "White on White" was a breakthrough from polychrome to monochrome Suprematism Another important influence on Malevich were the ideas of the Russian mystic-mathematician, philosopher, and disciple of Georges Gurdjieff ; P. D. Ouspensky who wrote of "a fourth dimension or a Fourth Way beyond the three to which our ordinary senses have access". [1] Suprematism (Supremus No. 58), Krasnodar Museum of Art ( Malevich , 1916) Some of the titles to paintings in 1915 express the concept of a non-euclidian geometry which imagined forms in movement, or through time; titles such as: Two dimensional painted masses in the state of movement. These give some indications towards an understanding of the Suprematic compositions produced between 1915 and 1918.

The Supremus group, which in addition to Malevich included Aleksandra Ekster , Olga Rozanova , Nadezhda Udaltsova , Anna Kagan, Ivan Kliun , Liubov Popova , Nikolai Suetin , Ilya Chashnik, Lazar Khidekel, Nina Genke-Meller , Ivan Puni and Ksenia Boguslavskaya , met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. There was some crossover with Constructivism , with Suprematists such as Popova and especially El Lissitzky working on propaganda and industrial design. Lissitzky spread Suprematist ideas abroad in the early 1920s. In addition, Nikolai Suetin used Suprematist motifs on works at the St Petersburg Lomonosov Porcelain Factory, where Malevich and Chashnik were also employed, with Malevich designing a Suprematist teapot. The Suprematists also made architectural models in the 1920s, which offered a different conception of socialist buildings to those developed in Constructivist architecture .

Self-Portrait (Detail), Malevich, 1933 This development in artistic expression came about when Russia was in a revolutionary state, when ideas were in ferment and the old order was being swept away. As the new order became established, and Stalinism took hold from 1924 on, the state began limiting the freedom of artists. From the late 1920s the Russian avant-garde experienced direct and harsh criticism from the authorities and in 1934 the doctrine of Socialist Realism became official policy, and prohibited abstraction and divergence of artistic expression. Malevich nevertheless retained his main conception. In his self-portrait of 1933 he represented himself in a traditional way — the only way permitted by Stalinist cultural policy — but signed the picture with a tiny black-over-white square. References Kazimir Malevich Most Important Art | The Art Story Web Services & Hosting by The Computer Studio | Designed by DesArtLab Paul Cézanne Paul Cézanne Paul Cézanne was an influential French Post-Impressionist painter whose depictions of the natural world, based on internal geometric planes, paved the way for Cubism and later modern art movements.

Pablo Picasso Pablo Picasso Picasso dominated European painting in the first half of the last century, and remains perhaps the century's most important, prolifically inventive, and versatile artist. Alongside Georges Braque, he pioneered Cubism. He also made significant contributions to Surrealist painting and media such as collage, welded sculpture, and ceramics. El Lissitzky El Lissitzky El Lissitzky was a Russian avant-garde painter, photographer, architect and designer. Along with his mentor Kazimir Malevich, Lissitzky helped found Suprematism. His art often employed the use of clean lines and simple geometric forms, and expressed a fascination with Jewish culture. Lissitzky was also a major influence on the Bauhaus school of artists and the Constructivist movement. Suprematism Suprematism Suprematism, the invention of Russian artist Kazimir Malevich, was one of the earliest and most radical developments in abstract art. Inspired by a desire to experiment with the language of abstract form, and to isolate art's barest essentials, its artists produced austere abstractions that seemed almost mystical. It was an important influence on Constructivism.

Henri Matisse Henri Matisse Henri Matisse was a French painter and sculptor who helped forge modern art. From his early Fauvist works to his late cutouts, he emphasized expansive fields of color, the expressive potential of gesture, and the sensuality inherent in art-making. Wassily Kandinsky Wassily Kandinsky A member of the German Expressionist group Der Blaue Reiter, and later a teacher at the Bauhaus, Kandinsky is best known for his pioneering breakthrough into expressive abstraction in 1913. His work prefigures that of the American Abstract Expressionists. Mikhail Larionov Mikhail Larionov Mikhail Larionov was a Russian avant-garde painter and the founder of Rayonism, the first movement that celebrated Russian abstract painting. Larionov was also a major promoter of Post-Impressionist and Neo-Primitive art during the early twentieth century, and helped widen the international appeal of artists like Matisse, Van Gogh, and Gauguin. Fauvism Fauvism Fauvism was an early twentieth-century art movement founded by Henri Matisse and André Derain.

Labeled as "wild beasts", Fauve artists favored vibrant colors and winding gestural strokes across the canvas. Cubism Cubism Cubism was developed by Pablo Picasso and Georges Braque between 1907-1911, and it continued to be highly influential long after its decline. This classic phase has two stages: 'Analytic', in which forms seem to be 'analyzed' and fragmented; and 'Synthetic', in which pre-existing materials such as newspaper and wood veneer are collaged to the surface of the canvas. Byzantine Art Byzantine Art Byzantine Art is a broad category that covers work made within the Byzantine Empire, from the fourth to the fifteenth centuries. Mosaics, icons, and panel paintings frequently include hieratic depictions of Christian figures and symbols, and make use of a flattened, elongated style. Futurism Futurism Futurism was the most influential Italian avant-garde movement of the twentieth century. Dedicated to the modern age, it celebrated speed, movement, machinery and violence. At first influenced by Neo-Impressionism, and later by Cubism, some of its members were also drawn to mass culture and nontraditional forms of art.

Marcel Duchamp Marcel Duchamp The French artist Marcel Duchamp was an instrumental figure in the avant-garde art worlds of Paris and New York. Moving through Dada, Surrealism, readymades, sculpture, and installation, his work involves conceptual play and an implicit attack on bourgeois art sensibilities. Paul Klee Paul Klee The Swiss-born painter Paul Klee worked in a variety of styles, including Expressionism, geometric abstraction, and collage. His most famous works have a mystical quality and make use of linear and pictorial symbols. Ad Reinhardt Ad Reinhardt Ad Reinhardt was an American abstract artist whose monochromatic canvases show side-by-side rectangles painted in subtle variations of the same color. Very much part of the New York scene in the 1940s, he nonetheless scorned the label and gestural ethos of Abstract Expressionism. Alexander Rodchenko Alexander Rodchenko Aleksander Rodchenko was a Russian artist, sculptor, photographer, and graphic designer. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles - usually high above or below - to shock the viewer and to postpone recognition.

He was one of the founders of Constructivism and Russian design; he was married to the artist Varvara Stepanova. Constructivism Constructivism Russian Constructivism emerged with the Revolution of 1917 and sought a new approach to making objects, one which abolished the traditional concern with composition and replaced it with 'construction,' which called for a new attention to the technical character of materials. It was hoped that these inquiries would yield ideas for mass production. The movement was an important influence on geometric abstraction. Minimalism Minimalism Minimalism emerged as a movement in New York in the 1960s, its leading figures creating objects which blurred the boundaries between painting and sculpture, and were characterized by unitary, geometric forms and industrial materials. Emphasizing cool anonymity over the passionate expression of the previous generation of painters, the Minimalists attempted to avoid metaphorical associations, symbolism, and suggestions of spiritual transcendence. Conceptual Art Conceptual Art Conceptual art describes an influential movement that first emerged in the mid-1960s and prized ideas over the formal or visual components of traditional works of art.

The artists often challenged old concepts such as beauty and quality; they also questioned the conventional means by which the public consumed art; and they rejected the conventional art object in favor of diverse mediums, ranging from maps and diagrams to texts and videos. Suprematism | History of Graphic Design A New Language of Form Suprematism Suprematism was an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, around 1913, and announced in Malevich's 1915 exhibition in St. Petersburg where he exhibited 36 works in a similar style. The term suprematism refers to an abstract art based upon “the supremacy of pure artistic feeling” rather than on visual depiction of objects. Birth of Suprematism Kasimir Malevich originated Suprematism when he was an established painter having exhibited in the Donkey's Tail and the Der Blaue Reiter (The Blue Rider) exhibitions of 1912 with cubo-futurist works.

The proliferation of new artistic forms in painting, poetry and theatre as well as a revival of interest in the traditional folk art of Russia provided a rich environment in which a Modernist culture was born. In "Suprematism" (Part II of his book The Non-Objective World, which was published 1927 in Munich as Bauhaus Book No. 11), Malevich clearly stated the core concept of Suprematism: Under Suprematism I understand the primacy of pure feeling in creative art. To the Suprematist, the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth. He created a suprematist "grammar" based on fundamental geometric forms; in particular, the square and the circle. In the 0.10 Exhibition in 1915, Malevich exhibited his early experiments in suprematist painting. The centerpiece of his show was the Black Square, placed in what is called the red/beautiful corner in Russian Orthodox tradition; the place of the main icon in a house.

"Black Square" was painted in 1915 and was presented as a breakthrough in his career and in art in general. Malevich also painted White on White which was also heralded as a milestone. "White on White" was a breakthrough from polychrome to monochrome Suprematism. Distinct from Constructivism Malevich's Suprematism is fundamentally opposed to the postrevolutionary positions of Constructivism and materialism. Constructivism, with its cult of the object, is concerned with utilitarian strategies of adapting art to the principles of functional organization. Under Constructivism, the traditional easel painter is transformed into the artist-as-engineer in charge of organizing life in all of its aspects. Suprematism, in sharp contrast to Constructivism, embodies a profoundly anti-materialist, anti-utilitarian philosophy. In "Suprematism" (Part II of The Non-Objective World), Malevich writes: Art no longer cares to serve the state and religion, it no longer wishes to illustrate the history of manners, it wants to have nothing further to do with the object, as such, and believes that it can exist, in and for itself, without "things" (that is, the "time-tested well-spring of life").

Jean-Claude Marcadé has observed that "Despite superficial similarities between Constructivism and Suprematism, the two movements are nevertheless antagonists and it is very important to distinguish between them." According to Marcadé, confusion has arisen because several artists - either directly associated with Suprematism such as El Lissitzky or working under the suprematist influence as did Rodchenko and Liubov Popova - later abandoned Suprematism for the culture of materials. Suprematism does not embrace a humanist philosophy which places man at the center of the universe. Rather, Suprematism envisions man - the artist - as both originator and transmitter of what for Malevich is the world's only true reality - that of absolute non-objectivity. ...a blissful sense of liberating non-objectivity drew me forth into a "desert", where nothing is real except feeling... ("Suprematism", Part II of The Non-Objective World) For Malevich, it is upon the foundations of absolute non-objectivity that the future of the universe will be built - a future in which appearances, objects, comfort, and convenience no longer dominate.

Influences on the movement Malevich also credited the birth of suprematism to Victory Over the Sun, Kruchenykh's Futurist opera production for which he designed the sets and costumes in 1913. One of the drawings for the backcloth shows a black square divided diagonally into a black and a white triangle. Because of the simplicity of these basic forms they were able to signify a new beginning. Another important influence on Malevich were the ideas of the Russian mystic-mathematician, philosopher, and disciple of Georges Gurdjieff; P. D. Ouspensky who wrote of "a fourth dimension or a Fourth Way beyond the three to which our ordinary senses have access". Some of the titles to paintings in 1915 express the concept of a non-Euclidean geometry which imagined forms in movement, or through time; titles such as: Two dimensional painted masses in the state of movement. These give some indications towards an understanding of the Suprematic compositions produced between 1915 and 1918.

Association The Supremus group, which in addition to Malevich included Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Ivan Kliun, Liubov Popova, Nikolai Suetin, Ilya Chashnik, Nina Genke-Meller, Ivan Puni and Ksenia Boguslavskaya, met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. Lissitzky spread Suprematist ideas abroad in the early 1920s, but Malevich himself announced the end of Suprematism in 1922. Architecture Nikolai Suetin used Suprematist motifs on works at the St. Petersburg Lomonosov Porcelain Factory where Malevich and Chashnik were also employed, and Malevich designed a Suprematist teapot. The Suprematists also made architectural models in the 1920s which offered a different conception of socialist buildings to those developed in Constructivist architecture. Malevich's architectural projects were known after 1922 Arkhitektoniki.

Designs emphasized the right angle, with similarities to De Stijl and Le Corbusier, and were justified with an ideological connection to communist governance and equality for all. Another part of the formalism was low regard for triangles which were "dismissed as Ancient, pagan, or Christian". The first Suprematist Architectural project was created by Lazar Khidekel in 1926. In mid 1920's - 1932 Lazar Khidekel also created a series of futuristic projects such as Aero-City, Garden-City, and City Over Water. Social context This development in artistic expression came about when Russia was in a revolutionary state, ideas were in ferment, and the old order was being swept away. As the new order became established, and Stalinism took hold from 1924 on, the state began limiting the freedom of artists. From the late 1920s the Russian avant-garde experienced direct and harsh criticism from the authorities and in 1934 the doctrine of Socialist Realism became official policy, and prohibited abstraction and divergence of artistic expression. Malevich nevertheless retained his main conception.

In his self-portrait of 1933 he represented himself in a traditional way — the only way permitted by Stalinist cultural policy — but signed the picture with a tiny black-over-white square. suprematism - DIGITAL MUSEUM info DIGITAL MUSEUM info Sitemap suprematism Suprematism (Russian: Супрематизм) was an art movement focused on fundamental geometric forms (in particular the square and circle) which formed in Russia in 1915-1916. It was founded by Kasimir Malevich. Kasimir Malevich originated Suprematism when he was an established painter having exhibited in the Donkey's Tail and the Der Blaue Reiter (The Blue Rider) exhibitions of 1912 with cubo-futurist works. The proliferation of new artistic forms in painting, poetry and theatre as well as a revival of interest in the traditional folk art of Russia provided a rich environment in which a Modernist culture was born. In "Suprematism" (Part II of his book The Non-Objective World, which was published 1927 in Munich as Bauhaus Book No.

11), Malevich clearly stated the core concept of Suprematism: Under Suprematism I understand the primacy of pure feeling in creative art. To the Suprematist, the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth. He created a suprematist 'grammar' based on fundamental geometric forms; in particular, the square and the circle. In the 0.10 Exhibition in 1915, Malevich exhibited his early experiments in suprematist painting. The centerpiece of his show was the Black Square, placed in what is called the red/beautiful corner in Russian Orthodox tradition ; the place of the main icon in a house. "Black Square" was painted in 1915 and was presented as a breakthrough in his career and in art in general. Malevich also painted White on White which was also heralded as a milestone. "White on White" was a breakthrough from polychrome to monochrome Suprematism. Malevich's Suprematism is fundamentally opposed to the postrevolutionary positions of Constructivism and materialism.

Constructivism, with its cult of the object, is concerned with utilitarian strategies of adapting art to the principles of functional organization. Under Constructivism, the traditional easel-painter is transformed into the artist-engineer in charge of organizing life in all of its aspects. Suprematism, in sharp contrast to Constructivism, embodies a profoundly anti-materialist, anti-utilitarian philosophy. In "Suprematism" (Part II of The Non-Objective World), Malevich writes: Art no longer cares to serve the state and religion, it no longer wishes to illustrate the history of manners, it wants to have nothing further to do with the object, as such, and believes that it can exist, in and for itself, without "things" (that is, the "time-tested well-spring of life").

Jean-Claude Marcadé has observed that "Despite superficial similarities between Constructivism and Suprematism, the two movements are nevertheless antagonists and it is very important to distinguish between them." According to Marcadé, confusion has arisen because several artists - either directly associated with Suprematism such as El Lissitzky or working under the suprematist influence as did Rodchenko and Liubov Popova - later abandoned Suprematism for the culture of materials. Suprematism does not embrace a humanist philosophy which places man at the center of the universe. Rather, Suprematism envisions man - the artist - as both originator and transmitter of what for Malevich is the world's only true reality - that of absolute non-objectivity. ...a blissful sense of liberating non-objectivity drew me forth into a "desert", where nothing is real except feeling... ("Suprematism", Part II of The Non-Objective World) Malevich's image of a 'desert' - where 'things' are absent - is therefore quite fitting.

Some, who for the first time in their lives, set foot in an actual desert landscape after knowing only cities or landscapes full of 'things' will perhaps be familiar with a liberating, sudden feeling of 'nothingness.' For Malevich, it is upon the foundations of absolute non-objectivity that the future of the universe will be built - a future in which appearances, objects, comfort, and convenience no longer dominate. The Supremus group, which in addition to Malevich included Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Ivan Kliun, Liubov Popova, Nikolai Suetin, Ilya Chashnik, Nina Genke-Meller, Ivan Puni and Ksenia Boguslavskaya, met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. Lissitzky spread Suprematist ideas abroad in the early 1920s. This development in artistic expression came about when Russia was in a revolutionary state, ideas were in ferment, and the old order was being swept away.

As the new order became established, and Stalinism took hold from 1924 on, the state began limiting the freedom of artists. From the late 1920s the Russian avant-garde experienced direct and harsh criticism from the authorities and in 1934 the doctrine of Socialist Realism became official policy, and prohibited abstraction and divergence of artistic expression. Malevich nevertheless retained his main conception. suprematisme Het suprematisme is een stijl in de beeldende kunst en schilderkunst en een vorm van de Abstracte kunst, uit het begin van de twintigste eeuw van circa 1915 tot en met 1930. Het is gegrondvest door de Oekraïense kunstschilder Kazimir Malevitsj, die de beweging in 1913 oprichtte. Het suprematisme kan worden gezien in tegenstelling tot het constructivisme. Waar constructivisten zien dat het gehele leven door de techniek beheerst wordt, geloven de suprematisten dat het gevoel de techniek in het leven roept.

Het suprematisme werkt vooral met geometrische figuren zoals vierkant, cirkel en rechthoek, waardoor het min of meer als onderdeel van de abstracte kunst wordt gezien. Binnen een volkomen abstracte kunst stond Malevitsj de suprematie van geometrische vormen voor. De weergave van zowel voorwerpen als ideeën werd volkomen afgewezen. Malevitsj' opvattingen zijn het best samengevat in zijn schilderij Zwart vierkant - een zwart vierkant op een witte achtergrond. Het suprematisme van Malevitsj is voor een belangrijk deel gebaseerd op het werk van de Russische wiskundige Lobatsjevski. Vanuit deze denkbeelden is elk schilderij een bevroren beeld van een eeuwige beweging door een ideaalruimte van n dimensies, geen omhoog, geen omlaag, geen rechts en geen links.

Malevitsj schreef een kunsttheorie die de grondslag vormde van een deel van zijn oeuvre en die hij het suprematisme noemde (van suprematie, oftewel 'oppermacht'). Zijn eerste suprematistische schilderij dateert uit 1913 (Zwart vierkant op witte ondergrond). Dit werk is het icoon voor het suprematisme, werd op de eerste tentoonstelling ook in de gouden hoek gehangen, de plek waar in Rusland de iconen in huis te vinden zijn. Het betreft kunst waarin geen sprake is van figuratie. Het is gebaseerd op geometrische vormen en zuivere kleuren, wit en zwart. Kunst was voor Malevitsj verbonden met het spirituele. Volgens zijn opvatting diende de kunst geen politieke, utilitaire of sociale doelstellingen of pretenties te hebben. Kunst behoorde autonoom te zijn. Deze opvatting scheidde hem van de constructivisten.

Er waren vele volgelingen, waaronder Ljoebov Popova (1889-1924). "Het vierkante vlak geeft het begin aan van het suprematisme, van een nieuw kleurrijk realisme als een soort van abstract scheppen", zei Malevitsj. Het kubisme en het futurisme hebben het suprematisme beïnvloed. Aan het einde van de jaren twintig was de bloeiperiode van het suprematisme voorbij. Sommigen sloten zich aan bij de constructivisten. In 1917 was het suprematisme erg in trek bij andere kunstenaars. Zij gebruikten het ook voor toegepaste kunst. De kunstenaars verenigden zich in het begin van de jaren twintig in een aantal Unovis-groepen.

Hoewel de beweging in Rusland weinig weerklank vond en slechts een beperkt aantal navolgers kende, had zij wel veel invloed op Wassily Kandinsky en de schilders van het Bauhaus en De Stijl. Wat betreft het streven de kunst terug te brengen tot zijn essentie loopt de beweging vooruit op minimal art. Er zijn tevens relaties met het constructivisme. De Oktoberrevolutie van 1917 werd door veel kunstenaars gesteund. Het nieuwe regime was aanvankelijk gecharmeerd door abstracte en experimentele kunst. Tijdelijk had de abstracte kunst een bijzondere waarde voor de Sovjet-regering. Er was zelfs subsidie voor. Maar vanaf 1924, wanneer het Stalinisme in voege treedt, begint de Sovjetstaat de artistieke vrijheid sterk in te perken. In Europa werd het daarentegen een bron van inspiratie voor De Stijl, het Europese constructivisme, het Bauhaus en Minimal Art.

Na de Russische Revolutie meenden veel moderne kunstenaars die onder het regime van de tsaar niet aan het werk konden dat nu eindelijk hun tijd gekomen was. Het communistisch regeringsstelsel verbood echter al snel elke kunstvorm die niet in dienst stond van de staat. (bron wikipedia) YouTube Video Suprematism : definition of Suprematism and synonyms of Suprematism (English) 8 External links Establishment Kasimir Malevich originated Suprematism when he was an established painter having exhibited in the Donkey's Tail and the Der Blaue Reiter (The Blue Rider) exhibitions of 1912 with cubo-futurist works. The proliferation of new artistic forms in painting, poetry and theatre as well as a revival of interest in the traditional folk art of Russia provided a rich environment in which a Modernist culture was born.

In his book The Non-Objective World, which was published abroad as a Bauhaus Book in 1927, Malevich described the inspiration which brought about the powerful image of the black square on a white ground: I felt only night within me and it was then that I conceived the new art, which I called Suprematism. He created a suprematist 'grammar' based on fundamental geometric forms; in particular, the square and the circle. In the 0.10 Exhibition in 1915, Malevich exhibited his early experiments in suprematist painting. The centerpiece of his show was the Black Square , placed in what is called the red/beautiful corner in Russian Orthodox tradition ; the place of the main icon in a house. "Black Square" was painted in 1915 and was presented as a breakthrough in his career and in art in general. Malevich also painted White on White which was also heralded as a milestone. "White on White" was a breakthrough from polychrome to monochrome Suprematism.

Influences on the movement Malevich also credited the birth of suprematism to Victory Over the Sun , Kruchenykh 's Futurist opera production for which he designed the sets and costumes in 1913. One of the drawings for the backcloth shows a black square divided diagonally into a black and a white triangle. Because of the simplicity of these basic forms they were able to signify a new beginning. Another important influence on Malevich were the ideas of the Russian mystic-mathematician, philosopher, and disciple of Georges Gurdjieff ; P. D. Ouspensky who wrote of "a fourth dimension or a Fourth Way beyond the three to which our ordinary senses have access". [1] Suprematism (Supremus No. 58), Krasnodar Museum of Art ( Malevich , 1916) Some of the titles to paintings in 1915 express the concept of a non-euclidian geometry which imagined forms in movement, or through time; titles such as: Two dimensional painted masses in the state of movement. These give some indications towards an understanding of the Suprematic compositions produced between 1915 and 1918.

Association The Supremus group, which in addition to Malevich included Aleksandra Ekster , Olga Rozanova , Nadezhda Udaltsova , Ivan Kliun , Liubov Popova , Nikolai Suetin , Ilya Chashnik , Nina Genke-Meller , Ivan Puni and Ksenia Boguslavskaya , met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. There was some crossover with Constructivism , with Suprematists such as Popova and especially El Lissitzky working on propaganda and industrial design . Lissitzky spread Suprematist ideas abroad in the early 1920s. Architecture Traction substation on Fontanka River at the St. Petersburg Nikolai Suetin used Suprematist motifs on works at the St. Petersburg Lomonosov Porcelain Factory where Malevich and Chashnik were also employed, and Malevich designed a Suprematist teapot. The Suprematists also made architectural models in the 1920s which offered a different conception of socialist buildings to those developed in Constructivist architecture .

Malevich's architectural projects were known after 1922 Arkhitektoniki. Designs emphasized the right angle , with similarities to De Stijl and Le Corbusier , and were justified with an ideological connection to communist governance and equality for all. Another part of the formalism was low regard for triangles which were "dismissed as Ancient , pagan , or Christian ". [2] Social context Self-Portrait (Detail), Malevich, 1933 This development in artistic expression came about when Russia was in a revolutionary state, ideas were in ferment, and the old order was being swept away. As the new order became established, and Stalinism took hold from 1924 on, the state began limiting the freedom of artists. From the late 1920s the Russian avant-garde experienced direct and harsh criticism from the authorities and in 1934 the doctrine of Socialist Realism became official policy, and prohibited abstraction and divergence of artistic expression. Malevich nevertheless retained his main conception. In his self-portrait of 1933 he represented himself in a traditional way — the only way permitted by Stalinist cultural policy — but signed the picture with a tiny black-over-white square.

References ^ (Gooding, 2001) ^ Hanno-Walter Kruft, Elsie Callander, Ronald Taylor, and Antony Wood A history of architectural theory : from Vitruvius to the present Edition 4 Publisher Princeton Architectural Press, 2003 ISBN 1-56898-010-8 , ISBN 978-1-56898-010-2 706 pages page 416 Sources Kasimir Malevich, The Non-objective World. English translation, Paul Theobald and Company, 1959 Camilla Gray, The Russian Experiment in Art, Thames and Hudson, 1976 Mel Gooding, Abstract Art, Tate Publishing , 2001 External links Fine Art and Design: Suprematist Fine Art and Design Suprematist Who was the leader of the Fauves and what were their painting goals? Les Fauves were a short-lived and loose grouping of early 20th century Modern artists whose works emphasized painterly qualities, and the imaginative use of deep color over the representational values retained by Impressionism.

Fauvists simplified lines, made the subject of the painting easy to read, exaggerated perspectives and an interesting prescient prediction of the Fauves was expressed in 1888 by Paul Gauguin to Paul Sérusier. The name was given, humorously and not as a compliment, to the group by art critic Louis Vauxcelles. The French word, "Fauves" means "wild beasts". Gustave Moreau was the movement's inspirational teacher; a professor at the École des Beaux-Arts in Paris, and a Symbolist painter he pushed his students to think outside of the lines of formality and to follow their visions. When Picasso painted “Les Desmoiselles d’Avigon” he started a new style of art known as Cubism. What is the meaning of this painting? Les Demoiselles d'Avignon (1907), a pivotal work in the development of modern art and in The Museum of Modern Art's permanent collection. Les Demoiselles d'Avignon means The Young Ladies of Avignon in English is a celebrated painting by Pablo Picasso that depicts five prostitutes in a brothel, in the Avignon Street of Barcelona.

Picasso painted it in France, and completed it in the summer of 1907. The eye-catching painting is one of Picasso's most famous. It now hangs in the Museum of Modern Art in New York City. Picasso created over one hundred sketches and studies in preparation for this work, one of the most important in the early development of Cubism. Within the narrative of early modern art, it is widely held as a seminal work. This painting was stylized from his trips to Africa and the unique wood carving he found there. Who was the leader of Die Brucke and what were their goals? Die Brücke (The Bridge) was a group of German expressionist artists formed in Dresden. The group was one of the seminal ones, which in due course had a major impact on the evolution of modern art in the 20th century and created the style of Expressionism.

The founding members of Die Brücke in 1905 were four Jugendstil architecture students: Fritz Bleyl (1880-1966), Erich Heckel (1883-1970), Ernst Ludwig Kirchner (1880-1938) and Karl Schmidt-Rottluff. They met through the Königliche Technische Hochschule (technical university) of Dresden, where Kirchner and Bleyl began studying in 1901 and became close friends in their first term. They discussed art together and also studied nature, having a radical outlook in common. Kirchner continued studies in Munich 1903–1904, returning to Dresden in 1905 to complete his degree. The institution provided a wide range of studies in addition to architecture, such as freehand drawing, perspective drawing and the historical study of art. Who was the leader or key figure of Der Blau Reiter and what were the goals of this group? Der Blaue Reiter (The Blue Rider) was a group of artists from the Neue Künstlervereinigung München secessioning in Munich, Germany.

Der Blaue Reiter was a German movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded the previous decade in 1905. Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, Marianne von Werefkin, Lyonel Feininger, Albert Bloch and others founded the group in response to the rejection of Kandinsky's painting Last Judgement from an exhibition. Der Blaue Reiter lacked a central artistic manifesto, but was centred around Kandinsky and Marc. Artists Gabriele Münter and Paul Klee were also involved. The name of the movement comes from a painting by Kandinsky created in 1903 (see illustration). It is also claimed that the name could have derived from Marc's enthusiasm for horses and Kandinsky's love of the colour blue. For Kandinsky, blue is the colour of spirituality: the darker the blue, the more it awakens human desire for the eternal (see his 1911 book On the Spiritual in Art).

Within the group, artistic approaches and aims varied from artist to artist; however, the artists shared a common desire to express spiritual truths through their art. They believed in the promotion of modern art; the connection between visual art and music; the spiritual and symbolic associations of colour; and a spontaneous, intuitive approach to painting. Members were interested in European medieval art and primitivism, as well as the contemporary, non-figurative art scene in France. As a result of their encounters with cubist, fauvist and Rayonist ideas, they moved towards abstraction. Modern art came to America with the Armory Show of 1913. Which painting in that exhibition was called ‘an explosion in a shingle factory’ by a reviewer? Who painted it? In 1913 the International Exhibition of Modern Art opened at the Sixty-Ninth Regiment Armory in New York City. Art historian Milton Brown calls it "the most important single exhibition ever held in America." Prior to what became known as the Armory Show, contemporary art and artists had received little attention from the American public, and this exhibition brought curious onlookers in numbers previously unimaginable.

Displayed were works by avant-garde European artists such as Pablo Picasso, Henri Matisse, and Marcel Duchamp, all of whose abstract work had been shown in Europe beginning in 1905, with the Fauviste exhibition (where Gertrude Stein and her brother began collecting modern art). A similar exhibition in London in 1910 had prompted Virginia Woolf to tie a fundamental shift in the world to the display of those paintings, claiming that "on or about December 1910 human character changed." Cubism, a style of painting that emphasized the underlying geometric forms of objects, shocked American viewers, many of whom thought that the artists were trying to conceal their own lack of artistic talent or were simply insane. Marcel Duchamp's Nude Descending a Staircase caused the greatest public furor, standing for all that was wrong in modern art in the eyes of its critics. It became a target of public ridicule, and parodies of the work appeared in newspapers and journals.

As Brown puts it, "American critics were as unprepared for the European visitation as they were for an exhibition of art from Mars." An art critic for the New York Times thought the work resembled "an explosion in a shingle factory." Who was the leader or key figure of Suprematism and what were the goals of this group? Suprematism is an art movement focused on fundamental geometric forms (squares and circles) which formed in Russia in 1915-1916. When Kasimir Malevich originated Suprematism in 1915 he was an established painter having exhibited in the Donkey’s Tail and The Blue Rider exhibitions of 1912 with cubo-futurists works. The proliferation of new artistic forms in painting, poetry and theatre as well as a revival of interest in the traditional folk art of Russia were a rich environment in which a Modernists culture was being born. He created a Suprematist 'grammar' based on fundamental geometric forms; the square and the circle. Malevich exhibited his early experiments in Suprematist painting.

The centrepiece of his show was the Black square on white, placed in what is called the red/beautiful corner in Russian Orthodox tradition ; the place of the main icon in a house. Another important influence on Malevich were the ideas of Russian mystic-mathematician who wrote of 'a fourth dimension beyond the three to which our ordinary senses have access'. Abstractions of egg-like figures or birds were the subjects of which artist’s sculptures? Constantin brancusi simplified his works, such as in the Newborn. He reduced his subject to an ovoid suggesting an egg. The form also resembles a head with the concave depression as the mouth releasing its first cry and the narrow triangle as the nose. Yet the whole is so abstract that we are left with a sense of the elemental ower of the marble which seems

Question: Kasimir Malevich is the best known painter from which Russian artistic school that was founded in 1915 and which focused on fundamental geometric forms?
Answer: SUPREMATISM