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Christopher Lawrie

New Suprematism

composition 1

 

 
 

Composition 1

 
  Located in the Geelong Art Gallery Victoria Australia
   
 

Malevich declared that the Black Square constituted the ‘zero of form’, an end to old conventions and the origin of a new pictorial language. The forms of this language were strictly geometrical, but they rapidly evolved into increasingly complex paintings in which the geometrical elements employed richer colours and inhabited an ambiguous and complex pictorial space. Despite its reference to the icon tradition, the Black Square presented no recognizably Christian image, but for Malevich himself Suprematism remained a mystical experience associated with concepts of the Fourth dimension and the nature of time, as explored in the mystical speculations of pyotr Uspensky. Malevich entitled several Suprematist works in comparable terms, such as Pictorial Realism of a Footballer—Pictorial Masses in Four Dimensions (c. 1915; Amsterdam, Stedel. Mus.). During 1915 Malevich also produced paintings relying solely on the textural manipulation of white, a development also considered mystical by Aleksandr Rodchenko and other followers. Oxford University Press