🎨 ART CLASS / Suprematism / An Introduction
art·@marinauzelac·
0.000 HBD🎨 ART CLASS / Suprematism / An Introduction
<html> <p><img src="https://steemit-production-imageproxy-thumbnail.s3.amazonaws.com/U5dsTHeigyBRfgzKYYwBvR8eqQT8Qs1_1680x8400" width="855" height="604"/><br> <br> The intention of these few notes is to deal with certain problems that have arisen in the history of art since it turned out that it is impossible to speak about art of the 20th century and not to mention the suprematist revolution. We are now experiencing "Malevich's wave" which, as it once was, "Kandinsky's wave", leads to emotional discussions in which there is a mixture of snobbery and sensationalism at the expense of facts and rigor. In fact, many people today consider that the opinion that is going to satisfy someone's desire is more interesting than objectivity.</p> <p>We are still far from having all the elements necessary to make definitive conclusions about the meaning of suprematism. Many events on the Russian art scene of the twenties and thirties are still darkened. Much of Malevich's writings were not published in Russian, and inevitable inaccuracies in translating into other languages lead to ambiguity. <br> <br> Finally, important works (paintings, architectural projects, drawings) remain inaccessible, lie at the depots of Russian museums or are in private collections. Errors and omissions are a necessary consequence of this lack of information. It would be wrong for western researchers to be held accountable for this. It should not be forgotten that, thanks to these same Western researchers, who, in spite of great difficulties, collected parts of a historical period condemned to spiritual oblivion, Russian art of the first quarter of the 20th century, and especially Malevich, avoided the disappearance of the collective memory of mankind and that in Russia itself, he gradually gets some attention.</p> <p>Errors and omissions that may arise as a result of such unfavorable circumstances can be understood. However, this is not an excuse for distortions and tendentious interpretations in the field of certain knowledge. The question of "what is suprematism" tells us to ask other questions about often confusing and unclear ideas about this mysterious "outburst" among artistic "twists" of the 20th century.<br> <br> <img src="https://steemit-production-imageproxy-thumbnail.s3.amazonaws.com/U5dth9j3YdKzmjiuhWF9bS4KzCwWJ6f_1680x8400" width="500" height="493"/><br> <br> <img src="https://steemit-production-imageproxy-thumbnail.s3.amazonaws.com/U5du3ipBgoVuWX52rfqarc9Q2gdCUk5_1680x8400" width="1000" height="1610"/><br> <br> <strong>Suprematism is anti-constructivist</strong></p> <p>Too often, constructivism and suprematism end up in one basket. As soon as he sees a geometric form, an unappreciated critic exclaims: constructivism! Despite the superficial similarities between constructivism and suprematism, these two artistic movements are still antagonistic and it is very important to distinguish them. The disagreement was due to the fact that several artists who were or once belonged to the suprematist movement (such as El Lissitzky) or who worked for some time under the influence of this movement (Rodchenko). Constructivism wants to use the material as the basis, it brings the cult of the object. For constructivism, "the subject is an artwork, and the work of art is the subject.". Philosophical assumptions are materialistic. Its goal is a functional organization of all areas of life. The principles of constructivism, although already accepted in practice, were not formulated until 1922. (A.Gan, Constructivism, Tver, I. Erenburg, Still Turns, Two Issues of the Berlin Subject Magazine).</p> <p>On the contrary, suprematism (whose first writings originate from the end of 1915) arose from the awareness of the insignificance of the object. For Malevich, the object as such does not exist, it disappears in the energy of absolute intangible existence. Suprematism is, therefore, an active negation of the sacred object. His goal is to portray a world without object and without objectivity, a pointless world that only has real existence.</p> <p>When Malevich speaks of suprematist "utilitarianism" or "economy," he doesn't even think of functionalism or rational schematicisation. Suprematist economy and utilitarianism wants to "green the world of flesh and bones," the world "diet" into a world of desert, emptiness, a world that tends to reach the essence of existence. Although suprematism is at the same time a painting of ontological activity and meditation on existence, this doesn't mean that it rejects the technical problems of design. Skill is very important for Malevich, but it's not the main factor, not the goal of his work. Artistic mastery should be adapted to the demands of world trends; the material doesn't have to appear in its complete fretfulness, as is the case with the constructivists, but it should already emphasize the non-existence of form and color. Therefore Suprematist quadrilaterals, circles and crosses can not be associated with rectangular, circular and cross-shaped forms that exist in nature - they are are formative rather than informative elements.<br> <br> <img src="https://steemit-production-imageproxy-thumbnail.s3.amazonaws.com/U5drcuydqJnLJSpyZgQojkK8bF5GjB7_1680x8400" width="849" height="617"/><br> <br> <img src="https://steemit-production-imageproxy-thumbnail.s3.amazonaws.com/U5duM7mgpk4rvgvn6WQu4LNhW6zWJsy_1680x8400" width="900" height="550"/><br> <br> <strong>Suprematism as a comprehensive philosophy</strong></p> <p>Painting for Malevich is a special area of suprematist knowledge, but this knowledge is not limited to what is traditionally called fine art. Suprematism extends to all areas of human activity; it wants to change the whole life (economic, political, cultural, religious). If the Renaissance perspective is radically abolished, it's because the human place in the world events is brand new. Suprematism is not humanism. It is not a triumph of man as the center of the universe, as the center of a convergent or divergent understanding of the world, but a triumph of "liberated nothing." Man in general, and the artist in particular, is the transmitter and dispatcher of those energies of the world that pass through it. He alone is this world. He is not an interpreter, but a prophet in the etymological sense of the word.</p> <p>In the light of this new perspective, a new world must arise. It's construction will be painful, because it figuratively opens, and where there is resistance there is war. Wars and revolutions are inevitable phenomena on this path to the liberation from the burden of the figurative, which has for centuries enhanced human anthropomorphism and its need for convenience. Malevich's ideas can not simply be brought into conjunction with idealism, subjectivism, or pantheism. They are pre-phenomenal in Heidegger's sense - as "the discovery of beings in the being".</p> <p><em>Note: This was my translation from Serbin to English from PULSE article ''Šta je suprematizam?''</em></p> </html>