Kazimir Malevich, 2

What does “Suprematism” mean?

Malevich first wrote the term Suprematism, in reference to his 1915 works, in a letter dated 24 September (old calendar) 1915.  In 1927 Malevich wrote “Under Suprematism I understand the supremacy of pure feeling in creative art [italics added].  To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless;  the significant thing is feeling [that[ is called forth.” Art historians suggest that Malevich selected the term to claim superior conceptual ground for totally abstract painting. 

Malevich’s Suprematist paintings and drawings eschew any representation of objects, people, or landscapes, except for his own visual interpretation of the feelings that such things invoke – in him, but his writing suggests that he perceived those feelings to be widespread.  Instead of visual representation, his work relies on rectilinear forms (occasionally circles or half circles) rendered in solid (or nearly solid) color (especially black, reds, and white) on a white background. (More about these colors in future posts.)

Kazimir Malevich, 1

Kazimir Malevich was born in Kiev in February 1878, to parents of Polish descent.  He took drawing and painting classes in his late teens, and began painting scenes in the Ukrainian countryside.  He moved to Moscow in 1904 and studied at the Moscow School of painting, Sculpture, and Architecture through his late 20s.  During these years his style developed from naturalism to neo-impressionist to expressionist.  Exposed to Cubist and Futurist paintings in 1909-10, he developed affinity for and mastery of those artistic approaches over the next five years.

 In December 1915, 0.10, The Last Futurist Exhibition was held in Petrograd (St. Petersburg).  Malevich exhibited 39 “completely nonrepresentational works for the first time, presented as the ‘new painterly realism’” including Black Square (1915).  He followed that exhibit with brochures and lectures extolling “Suprematism” as “the New Realism of Painting, to Absolute Creation” and “The New Painterly Realism.”  

During the Russian Revolution (1917-23), the Tenth State Exhibition: Nonobjective Art and Suprematism was held in Moscow (1919).  Malevich exhibited 16 Suprematist paintings in the exhibit, including Suprematist Composition: White on White (1918).

From 1928, Malevich’s painting shifted to highly stylized depictions of farmers and workers, almost certainly motivated by political pressure.  Between 1929 and 1934, increasing resistance to artistic pluralism in general and non-representational art in particular culminated in a statement from the Congress of Soviet Writers claimed “Socialist Realism as the exclusive style for Soviet writers and artists.”  Indeed, in 1934 socialist realism became the only painting style that could be taught or publicly exhibited in the Soviet Union.

On 15 May 1935, Malevich died of cancer at home in Leningrad (St. Petersberg).  In the words of Russian scholar Aleksandra Shatskikh, “From the mid-1930s to the late 1980s, there was [and had been] no artist in the Soviet Union by the name of Kazimir Malevich.”

Why did Malevich embrace completely “non-objective” art?  What led Malevich to the Black Square, which he termed “the zero point” for painting?  Why call his new insight “Suprematism”?  How did Suprematism relate to Russian Constructivism?  What awful discovery was made about Black Square, 100 years after its creation? 

My goals while painting

1.     Respect and revel in the medium.  I paint carefully, even when painting with minimal intermediation (e.g., pouring).  This reflects my attempts to control the things I do, but also reflects my respect for the medium.  What coverage, uses, and final surfaces will be most visually compelling?  What applications will maximize the longevity of the finished work?

2.     Provide (or, at times, imply) detail that rewards repeated viewing. 

3.     Provide sufficient iconographic ambiguity to reward repeated viewing.

Finding hope

Two of my recent works explicitly explore the need to find light and hope amid oppressive circumstances, and I’ve titled them so. 

Dusk of Agony (https://www.jwharrington.com/figurativ-paintings/dusk-of-agony) depicts a dramatic sunset during the smoke that pervaded the northwest US during the peak of wildfire season – fires in California, Oregon, and Washington produced smoke that covered much of the eastern Pacific Ocean and carried back north and west.  It’s dusk, dark, threatening, and yet has openings of sunlight and a deep, deep blue waterscape.  I hope it really does depict the dusk of our shared agonies.

Season of Darkness, Season of Light (https://www.jwharrington.com/figurativ-paintings) loosely depicts late afternoon (believe it or not, once you look at it) during the same period, looking over the Tacoma Narrows toward the Narrows Bridge.  It’s nearly monochromatic (which was surprisingly gratifying to render), but has impressionistic points of light, reflecting off the water from the barely visible sun.  Again, I’ve titled it to provide a sense of hope.