Sunday, July 8, 2007

Kazimir Malevich says

Malevich wrote about Suprematism in his treatise The Non-Objective World: Suprematism is the rediscovery of pure art that, in the course of time, had become obscured by the accumulation of "things" . . . The black square on the white field was the first form in which nonobjective feeling came to be expressed. The square = feeling, the white field = the void beyond this feeling. Yet the general public saw in the nonobjectivity of the representation the demise of art and failed to grasp the evident fact that feeling had here assumed external form. The Suprematist square and the forms proceeding out of it can be likened to the primitive marks (symbols) of aboriginal man, which represented, in their combination, not ornament, but a feeling of rhythm. Suprematism did not bring into being a new world of feeling but, rather, an altogether new and direct form of representation of the world of feeling . . .. The new art of Suprematism, which has produced new forms and form relationships by giving external expression to pictorial feeling, will become a new architecture: it will transfer these forms from the surface of canvas to space . . .. Suprematism has opened up new possibilities to creative art, since by virtue of the abandonment of so-called "practical consideration, " a plastic feeling rendered on canvas can be carried over into space. The artist (the painter) is no longer bound to the canvas (the picture plane) and can transfer his compositions from canvas to space"

Saturday, July 7, 2007

Suprematism is a Desert

Kazimir Malevich says:

Under Suprematism I understand the supremacy of pure feeling in creative art. To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such…
Feeling is the determining factor ... and thus art arrives at non objective representation at Suprematism.
It reaches a "desert" in which nothing can be perceived but feeling.
But this desert is filled with the spirit of nonobjective sensation which pervades everything. …A blissful sense of liberating nonobjectivity drew me forth into the "desert," where nothing is real except feeling . . . and so feeling became the substance of my life.
We have seen how art, at the turn of the century, divested itself of the ballast of religious and political ideas which had been imposed upon it and came into its own attained, that is, the form suited to its intrinsic nature and became, along with the two already mentioned, a third independent and equally valid point of view.

Art no longer cares to serve the state and religion, it no longer wishes to illustrate the history of manners, it wants to have nothing further to do with the object, as such, and believes that it can exist, in and for itself, without "things"…

Suprematism has opened up new possibilities to creative art.., a plastic feeling rendered on canvas can be carried over into space. The artist (the painter) is no longer bound to the canvas (the picture plane) and can transfer his compositions from canvas to space.

Thursday, July 5, 2007


10 July, Tuesday Painting Class Agenda
Analytic cubism
Cubism was a short but highly significant art movement between about 1907 and 1914 in France. The most notable of cubism's participants were Pablo Picasso and Georges Braque. In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form — instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. The roots of cubism are to be found in the Paul Cezanne’s later works:
1. The idea to break the painted surface into small multifaceted areas of paint;
2. The simplification of natural forms into cylinders, spheres, pyramids and cubes.
2 Main Types of Cubism
There are two main types of cubism, analytical cubism and synthetic cubism. Analytic cubism was mainly practiced by Braque, and is very simple, with dark, almost monochromatic colours. Synthetic cubism was much more energetic, and often made use of collage including the use of several two-dimensional materials. This type of cubism was developed by Picasso.
Analytic cubism is the first form of cubism. The time period was from about 1907-1912. Color was almost a monochromatic scheme that often included grey, blue and ochre. Instead of an emphasis on colour, Analytic cubists had gotten the idea from Paul Cezanne and focused on forms like the cylinder, sphere and the cone to represent the natural world.
Analytic cubism