Feb 11, 2021
Kazimir Malevich
Suprematism
1915
seen from Russia
seen from China
seen from United States
seen from Germany
seen from United States
seen from United States
seen from China
seen from Philippines
seen from Myanmar (Burma)
seen from Indonesia
seen from T1
seen from China
seen from United States
seen from Philippines
seen from Indonesia
seen from Philippines
seen from United States
seen from Malaysia
seen from Malaysia
seen from Germany
Kazimir Malevich
Suprematism
1915
Kazimir Malevich
Suprematism
1916,
Kazimir Malevich
Peasant in the Fields
1929
Kasimir Malevich Black Square and Red Square, 1915 Oil on canvas, 71.4 x 44.4 cm (28 x 17 1/2 in) The Museum of Modern Art, New York
I love Kazimir Malevich. I remember when I first encountered Black Square in an art history class and had that instant euphoric, Stendhal Syndrom-esque reaction to it. When the piece was first exhibited, Malevich placed the painting at the top of a corner: the traditional spot for iconic images in the Russian Orthodox faith. Black Square was to be the new prophet and guiding light of truth and the Suprematist movement. Malevich's themes of geometrical versus organic, function versus ornament both speak of the political environment in which these pieces were produced as well as contemporary times.