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Kazimir Malevich
31 quotes
“We have rejected reason because we have found another reason that could be called trans-rational, which has its own law, construction, and sense.. .This reason has found a way-Cubism-of expressing the object.”
Kazimir Malevich (1879–1935) first seen 1913 wikiquote, CC BY-SA 4.0 source
Recorded in: letter to the composer Matiushin, June 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 266
“The rectangular picture-plane indicates the starting point of Suprematism; a new realism of color conceived as non-objective creation. The forms of Suprematist art live like all the living forms of nature. This is a new plastic realism, plastic precisely because the realism of hills, sky, and water is missing. Every real form is a world. And any plastic surface is more alive than a (drawn or painted) face from which stares a pair of eyes and a smile. [1914]”
Kazimir Malevich (1879–1935) said by 1935 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: cited in Artists on Art; from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 452
“..[to gather] under a new banner.. ..[that the poets of yesterday's Futurism ] change the means of battle with thought, content, and logic.. ..advance Alogism after Futurism.”
Kazimir Malevich (1879–1935) first seen 1915 wikiquote, CC BY-SA 4.0 source
Recorded in: Nov. 1915; as cited by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 26
“Dynamism is also the forming formula for Futurists works; i.e. dynamism is the additional element that transforms the perception of one state of phenomena to another, for example, from a static to a dynamic perception.”
Kazimir Malevich (1879–1935) first seen 1915 wikiquote, CC BY-SA 4.0 source
Recorded in: c. 1915 in 'Cubofuturism', Malevich, in his Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59
“There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement. This special movement was discovered by the futurists as a new and hitherto unknown phenomenon in art, a phenomenon which some Futurists were delighted to reflect.”
Kazimir Malevich (1879–1935) first seen 1915 wikiquote, CC BY-SA 4.0 source
Recorded in: c. 1915, in: 'Cubofuturism', Malevich, in his Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59
“Balla, he advanced Dynamic Futurism.. ..drawing closer, not to the human body but to the machine, as contemporary muscles of a man of today.. .The actual structure of each of Balla's works tells us that the dynamic power sensed by the artist is incomparable greater than the actual bodies of the machines, and the content of each machine is only a small part of this dynamic power, since each machine is a mere unit from the sum total of the forces of contemporary life.”
Kazimir Malevich (1879–1935) first seen 1915 wikiquote, CC BY-SA 4.0 source
Recorded in: c. 1915 in: 'Cubofuturism', Malevich, in Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, pp. 59-60
“Papuans bored, but Cottage second-class Ticket. Park. Arch.”
Kazimir Malevich (1879–1935) first seen 1915 wikiquote, CC BY-SA 4.0 source
Recorded in: Jan. 1916, from his letter to Mikhail Matiushin; private archive, Frankfurt (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, N…
“I possess only a single bare, frame-less icon [his Squares ] of our times (like a pocket), and it is difficult to struggle. But my happiness in not being like you [ Aleksandr Benois ] will give me the strength to go further and further into the empty wilderness. For it is only there that transformation can take place. And I think you are mistaken when you say in reproaching me that my philosophy will destroy millions of lives. Are you not, all of you, like a roaring blaze that obstructs and prevents any forward movement?”
Kazimir Malevich (1879–1935) first seen 1915 wikiquote, CC BY-SA 4.0 source
Recorded in: 'Letter from K. Malevich to art-critic Aleksandr Benois', May 1916; by Jane A, Sharp, in Chapter 'The Critical Reception of the 0. 10 Exhibition: Malevich and Benua', in The great Utopia - The Russian and Soviet Avant-G…
“I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting – to non-objective creation.”
Kazimir Malevich (1879–1935) first seen 1916 wikiquote, CC BY-SA 4.0 source
Recorded in: November 1916, in: 'From Cubism and Futurism to Suprematism: The New Realism in Painting'
“At the present time man's path lies through space, and Suprematism is a colour metaphor in its infinite abyss. [1916]”
Kazimir Malevich (1879–1935) first seen 1916 wikiquote, CC BY-SA 4.0 source
Recorded in: 'On space and Suprematism', Kasimir Malevich, 1916; as cited in Abstract Art, Anna Moszynska, Thames and Hudson, London 1990, p. 58
“..the art of futurism.. ..achieved great momentum in the first quarter of the Twentieth Century and remains a basic stimulus in the following forms of new art: Suprematism, Simultaneism, Purism, Odorism, Pankinetism, Tactilism, Haptism, Expressionism, and Légerísm [referring to Fernand Léger in the last ...ism, mentioned]”
Kazimir Malevich (1879–1935) said by 1935 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: In: 'Cubofuturism', Malevich, in Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59
“The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.”
Kazimir Malevich (1879–1935) first seen 1916 wikiquote, CC BY-SA 4.0 source
Recorded in: 'From Cubism and Futurism to Suprematism: The New Realism in Painting', Kazimir Malevich, November 1916
“Matiushin's sound [composer of the Futurist opera: 'Victory over the Sun', Malevich did the stage design] shattered the object-word. The curtain was torn, by the same token tearing the scream of consciousness of the old brain. [1917]”
Kazimir Malevich (1879–1935) said by 1935 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 266
“..[that] the overturning of the old world of arts will be etched across your 'palms' (recto)”
Kazimir Malevich (1879–1935) first seen 1919 wikiquote, CC BY-SA 4.0 source
Recorded in: admonition from the cover of Malevich's 'novykh sistemakh v iskusstve' (Vitebsk: Unovis, 1919); the cover is reproduced in Malevich: Suprematism and Revolution in Russian Art, Larissa A. Zhadova, (trans. Alexander Lieve…
“Everywhere there is craft and technique, everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of it awkwardness it obstructs that inner element.. .All craft, technique, and artistry, like anything beautiful, results in futility and vulgarity. [critical quote on Constructivism artists]”
Kazimir Malevich (1879–1935) said by 1935 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: In: 'On poetry'; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 65
“It is the experience of the speed of a plane, which was looking for an expression, a form and this caused the plane to come into existence. The plane was not built to take letters from Berlin to Moscow, but to give expression to the irresistible urge to create a form for the experience of speed.”
Kazimir Malevich (1879–1935) said by 1935 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: As quoted in: Richtingen in de hedendaagsche schilderkunst (Trends in the Present Day Art of Painting), Jacob Bendien - W.L. & J Brusse, Rotterdam,1936, p. 100 (transl. Anne Porcelijn)
“Only when the habit of one's consciousness to see in paintings bits of nature, Madonna's and shameless nudes.. ..has disappeared, shall we see a pure painting composition. I have transformed myself into the nullity of forms and pulled myself out of the circle of things, out of the circle-horizon in which the artist and forms of nature are locked.”
Kazimir Malevich (1879–1935) said by 1935 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: as quoted in: Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 178
“I have broken the blue boundary of color limits, come out into the white, besides me comrade-pilots swim in this infinity. I have established the semaphore of Suprematism. I have beaten the lining of the colored sky, torn it away and in the sack that formed itself, I have put color and knotted it. Swim! The free white sea lies before you.”
Kazimir Malevich (1879–1935) first seen 1919 wikiquote, CC BY-SA 4.0 source
Recorded in: In the 'Catalogue 10th State Exhibition', Kasimir Malevich, Moscow, 1919; as quoted in Autocritique, – essays on art and anti-art 1963 – 1987, Barbara Rose, Weidenfeld & Nicolson, New York, 1988, p. 71
“Man's skull represents the same infinity for the movement of conceptions. It is equal to the universe, for in it is contained all that sees in it. Likewise the sun and whole starry sky of comets and the sun pass in it and shine and move as in nature.. .Is not the whole universe that strange skull in which meteors, suns, comets, and planets rush endlessly?”
Kazimir Malevich (1879–1935) first seen 1922 wikiquote, CC BY-SA 4.0 source
Recorded in: 'God is not cast down', Malevich, 1922; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 65
“I paint energy, not the soul.”
Kazimir Malevich (1879–1935) first seen 1915 wikiquote, CC BY-SA 4.0 source
Recorded in: Malevich, 1924, in: 'Khudozhniki na dispute ob AKhRR', in 'Zhizn,' iskusstva 6 (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum…
“I recommend [the students] that you should work actively at the Hermitage and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.”
Kazimir Malevich (1879–1935) first seen 1906 wikiquote, CC BY-SA 4.0 source
Recorded in: letter of Malevich to his student Yudin, summer of 1924; as quoted in Marc Chagall – the Russian years 1906 – 1922, ed. By Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 66
“By Suprematism I mean 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.”
Kazimir Malevich (1879–1935) first seen 1926 wikiquote, CC BY-SA 4.0 source
Recorded in: In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ], 'part II: Suprematism', p. 67
“When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field. The critics and, along with them, the public sighed, 'Everything which we loved was lost. We are in a desert.. .Before us is nothing but a black square on a white background!' But the desert is filled with the spirit of non-objective feeling.. ..which penetrates everything.”
Kazimir Malevich (1879–1935) first seen 1926 wikiquote, CC BY-SA 4.0 source
Recorded in: In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ], 'part II: Suprematism', p. 68
“The world as a sense, independent of the image, of the idea - this is the essence of the content of art. [My] square is not an image, just as a switch or socket are not the current. - Malevich”
Kazimir Malevich (1879–1935) first seen 1915 wikiquote, CC BY-SA 4.0 source
Recorded in: Malevich, in his letter to Konstantin Rozhdestvenskii, 21 April, 1927, private archive, Moscow (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; G…
“By Suprematism, I mean the supremacy of pure feeling in the pictorial arts. From the Suprematist point of view, the appearances of natural objects are in themselves meaningless; the essential thing is feeling – in itself and completely independent of the context in which it has been evoked. Academic naturalism, the naturalism of the impressionists, of Cézannism, of Cubism, etc., are all so to speak nothing but dialectic methods, which in themselves in no way determine the true value of the work of art.”
Kazimir Malevich (1879–1935) first seen 1927 wikiquote, CC BY-SA 4.0 source
Recorded in: Malevich, 1927 in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451
“Tatlin does not transcend the confines of Cubism.”
Kazimir Malevich (1879–1935) first seen 1928 wikiquote, CC BY-SA 4.0 source
Recorded in: c. 1928, in 'The Constructive Painting of Russian Artists and Constructivism', in K. S. Malevich, Essays on Art, ed. Troels Andersen, (transl. Xenia Glowacki-Prus & Arnold McMillin), London: Rapp & Whiting, 1969, vol. 2…
“I have not invented anything, only the night I have sensed, and in it the new which I called Suprematism.”
Kazimir Malevich (1879–1935) said by 1935 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: Dokumente zum Verständnis der modernen Malerei, Walter Hess, (Hamburg, 1956), p. 98
“The principal element of Suprematism in painting, as in architecture, is its liberation from all social or materialist tendencies. Through Suprematism art comes into its pure and unpolluted form. It has acknowledged the decisive fact of the nonobjective character of sensibility. It is no longer concerned with illusion.”
Kazimir Malevich (1879–1935) said by 1935 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 194
“The representation of an object, in itself (the objectivity as the aim of the representation), is something that has nothing to do with art, although the use of representation in a work of art does not rule out the possibility of its being of a high artistic order. For the Suprematist, therefore, the proper means is the one that provides the fullest expression of pure feeling and ignores the habitually accepted object. The object in itself is meaningless to him; and the ideas of the conscious mind are worthless. Feeling is the decisive factor.. ..and thus art arrives at non-objective representation – at Suprematism.”
Kazimir Malevich (1879–1935) first seen 1927 wikiquote, CC BY-SA 4.0 source
Recorded in: Malevich, 1927 in Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 452
“I too was filled with a sort of shyness and fear, as I was called to leave 'the world of will and idea' in which I had lived and created, and in whose reality I had believed. But the happy liberating touch of non-objectivity drew me out into the 'desert' where only feeling is real.. ..and so feeling became the content of my life. It was no 'empty square' I had exhibited but the feeling of non-objectivity. I perceived that the 'thing' and the 'idea' were taken to be equivalents of feeling, and understood the lie of the world of will and idea. Is the milk bottle the symbol of milk? Suprematism is the rediscovery of that pure art which in the course of time, and by an accretion of 'things', had been lost to sight.”
Kazimir Malevich (1879–1935) said by 1935 at the latest wikiquote, CC BY-SA 4.0 source
Recorded in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 453
“Painting has turned back from the non-objective way to the object, and the development of painting has returned to the figurative part of the way that had led to the destruction of the object. But on the way back, painting came across a new object that the proletarian revolution had brought to the fore and which had to be given form, which means that it had to be raised to the level of a work of art.. .I am utterly convinced that if you keep to the way of Constructivism, where you are now firmly stuck, which raises not one artistic issue except for pure utilitarianism and in theater simple agitation, which may be one hundred percent consistent ideologically but is completely castrated as regards artistic problems, and forfeits half its value.. .If you go on as you are.. ..then Stanislavski will emerge as the winner in the theater and the old forms will survive. And as to architecture, if the architects do not produce artistic architecture, the Greco-Roman style of Zyeltovski will prevail, together with the Repin style in painting..”
Kazimir Malevich (1879–1935) first seen 1915 wikiquote, CC BY-SA 4.0 source
Recorded in: letter 8 April 1932, to Meyerhold, in 'Two Letters to Meyerhold', in Kunst & Museumjournaal 6, (1990), pp. 9-10; as quoted by Paul Wood in The great Utopia, - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Mu…