Malevich was born of Polish parents in Ukraine. Constantly hunting for work in the Russian Empire, his father worked in a railway construction and sugar factory. In his early teens, Kazimir was also employed where his father worked. When about 12 years, he began drawing and in dire pursuit of an artistic career, his academic efforts kicked off in 1895 at Kiev School of Art.
Kazimir moved Moscow to take classes at Stroganov School of Art in 1904. Deep into it, he enrolled for private classes with Ivan Rerberg as his eminent art instructor. While at Moscow School of Painting, Architecture and Sculpture he was taught post-impressionist and Impressionist paint techniques by Konstantin Korovin and Leonid Pasternak. The bloom stages of his work were in Post-Impressionist mode. However, Art Nouveau and Symbolism were highlights of his work too.
Between 1912 and 1913 Malevich concentrated on a Cubo-futurist style putting together elements of Italian Futurism and synthetic cubism. The aftermath was a vigorous geometric deconstruction of different figures in the space. In 1915 he published his Suprematism manifesto converting wholly to pure abstraction.
In 1918, he was employed in the Fine Arts Department of the People Commissariat for Enlightenment. He was a teacher of radical abstraction at Free Art Studios in Moscow. In 1919, he wrapped up the manuscript of his book On New Systems in Art’’. Theoretically, he applied the principles of Suprematism. Malevich took up leadership of the Vitebsk School after leaving the capital.
Kazimir’s suprematist ideas were visible from the various architectural models of Architectona. His pieces were made up of cubic and rectangular shapes organized to exhibit their aesthetic feel. Malevich went to exhibitions in Germany and Poland that was intriguing to intellectuals and local artists.
In 1930, his career started drowning after he was put behind bars on questioning of his political thoughts. To try cover him up, a friend put to ashes some of Malevich’s writings. In 1932, a major exhibition by the state to commemorate Bolshevik Revolution’s 15th anniversary in Leningrad and Moscow. Kazimir took part though his paintings were considered anti-Soviet and were barred from exhibition venues and state schools.
Malevich succumbed to cancer in 1935 in Leningrad and was send off in a casket designed by himself and Black Square image placed on the coffin’s lid. He died a renowned suprematism supporter.
Black Square is among the highlights of Malevich’s artwork. Black Square was first unveiled in Petrograd in 0.10 exhibition in 1915. The influence of this piece was Cubism and Futurism to Suprematism: The New Realism in Painting- an essay by this artist in 1915. This artwork majorly employs the theories of principles of Suprematism. The shape of the Black Square on the white background is an exhibit of abstraction of Cubism.
The painting looks simple but is deep. Fingerprints, colors and brushstrokes are subtleties visible under the black layer that looks cracked. Some of its features are distinguishable. The tension on the black square’s edges, visual weight and the sense of image on a background. Malevich says that the true definition of this art is gotten though feeling it only but not the logics of its physical form and look. It is an oil on canvas art currently at the Tretyakov Gallery, Moscow. According to him, the white part means emptiness and black is a feeling. He further views it like a supreme item-god like. Black Square was to be nonrepresentational art’s new holy image.
Suprematism is art on the basis of geometry of abstract painting that was used in the 20th century by Kazimir Malevich, a Russian artist. It is dependent on a purely artistic feeling. This is evident in the Black Square work of art.
The significance of suprematism is in feeling the art work rather than gauging it from visually. The materialization of the feeling of an art is purposely on the feeling expressed. True value and worth of artwork is not determined by academic naturalism, cubism, naturalism of impressionists or Cezanneism. Feeling is the ultimate factor that determines the suprematism aspect of a piece.
Anciently, art that was fully in the line of the state and religion will be reborn in the pure form of suprematism which will create a new way of feeling. After the launch of the black square, people felt lost by shallowly interpreting that art. The square was rendered dangerous by the public. The square wasn’t empty but rather triggered the feeling of non-objectivity just like a milk bottle not being a symbol of milk.
The airplane art was because of a yearning for speed. This saw Malevich pick an airplane to illustrate his feeling and not to literally ferry business letters to Moscow from Berlin. The depiction of emotion from such an object unveils the depth of suprematism as a style of art.
Art works that are antique are preserved in museums for generations to enjoy artistry. Antique art’s full value is recognized after life. This makes the current non-objective art imply pure feeling. Viewing life through the medium of pure artistic feeling is the reason why suprematism unmasks the inner meaning of art. In life as a theatrical piece, objective imagery portrays nonobjective feeling. Like a bishop does his ministerial duty on a dressed stage, he relays a religious feeling.
What every person knows of themselves is little since what is behind the actual face is more to discernment. Suprematism looks at both the actual face and mask as skeptical. Suprematists have abandoned the use of human face in relaying feelings and taken to using masks which are more symbolic. This pushes the public to identify the true and real value of things. Having to follow an absolute order unlike rushing to a provisional order is what suprematism takes into consideration.
Basically, every work of art is part of practical life and suprematism has added to the purity and unapplied form of achieving a nonobjective feeling and spreading the wings of creative arts. The world is then beginning to take a genuine order and a new philosophies of life.