Suprematism I :: form and colour

Suprematism in Art ::

Cubo-Futurism : The Art of Flying Objects

Suprematism represents a logical continuation of Cubism in its striving to give substance to the new non-objective cosmic concept of a spatially integrated world and its structural unity.

"Diagramme de l'Installation de l'Expo de Malevich - 1915"

From Left to Right:
  1."Red Square and Black Square.1915" - 2."Colour Masses in Four Dimensions.1915" 
3."Suprematisme Dynamique.1916" - 4."Black Square.1929"

Malevich considers that colour and shape are related and set about enclosing patches of colour in geometric figures on a white background. He believes that colour emphasizes clear geometric shapes, but form itself influences the effect of colour. By the use of white background, the geometric shapes on the picture surface seem to float in infinite space. Dynamic tension is achieved by interrelating plane and colour.

1.the primitive square
le carre initial
2.the division into four
la division en quatre
3.the division into nine
la division en neuf
4.the resulting squares
les 2 carres soulignes to bring the smaller square into a dynamic position
this subdivision of the square has been achieved by Poul Pedersen's diploma work in Danemark.
6.the location inside the surface of the frame

the insertion of the two squares into the golden rectangle.

7.carre noir et rouge, 1915

Malevich : his concept of color was static while his concept of form is dynamic. facon d'amener le petit carre dans une position dynamiquela subdivision du carre a ete realisee par Poul Pedersen - Danemark dans le cadre de son travail de diplome. place des deux carres dans la surface du tableau

l'insertion des deux carres dans le rectangle d'or

7.carre noir et rouge - 1915

le concept de couleur reste statique par opposition a celui dynamique de la forme.

"I have destroyed the ring of the horizon and stepped out of the circle of things." (Malevich)

the starting point of any suprematist work is the square, so the square has always been the primitive.

toutes les oeuvres suprematistes proviennent du carre, ont le carre comme point de depart

Part Two: Malevich's Architectons

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