![]() ![]() ![]() White was the artist's symbol for the concept of the infinite as the white square dissolves its material being into the slightly warmer white of the infinite surrounding. Malevich repeatedly referred to "the white" as a representation of the transcendent state reached through Suprematism. Oil on canvas - The Museum of Modern Art, New York His abstract painting was meant to convey the concept (abstract idea) of the plane flying in space. Indeed, Malevich wrote about expressing the feeling of the "sensation of flight, metallic sounds." and other technological advances of the modern age. Malevich believed that emotional engagement was required from the viewer in order to appreciate the composition, which constituted one of the key principles of his theory of Suprematism. The whiteness of the background remains unobtrusive but contrasting, and has infused the interplay of colorful shapes with its energy. ![]() The yellow contrasts starkly with the black, while the red and blue lines add dynamic visual accents to the canvas. The rectangular and cubic shapes are arranged in a solid, architectonic composition. However, at the time, in Airplane Flying Malevich was able to further explore the pictorial potential of pure abstraction. Malevich was also interested in aerial photographs of landscapes, although he later backed away from this source of inspiration, feeling that it led him too far from his vision of a totally abstract art. Oil on canvas - Tretyakov Gallery, MoscowĪs early as 1914, Malevich had become interested in the possibilities of flight (as had the Futurists) and the idea that the airplane might be a symbol for the awakening of the soul surrounded by the freedom of the infinite. Even at the exhibition it was hung in the corner where an Orthodox icon would traditionally be placed in the Russian home. In fact, Black Square was to become the new holy image for non-representational art. Additionally, Malevich saw the black square as a kind of godlike presence, an icon - or even the godlike quality in himself. ![]() For the artist, the square represented feelings, and the white, nothingness. But according to Malevich, the perception of such forms should always be free of logic and reason, for the absolute truth can only be realized through pure feeling. If nothing else, one can distinguish the visual weight of the black square, the sense of an "image" against a background, and the tension around the edges of the square. Even though the painting seems simple, there are such subtleties as brushstrokes, fingerprints, and colors visible underneath the cracked black layer of paint. Thus, here the purely abstract shape of the black square (painted before the white background) is the single pictorial element in the composition. Although earlier Malevich had been influenced by Cubism, he believed that the Cubists had not taken abstraction far enough. This piece epitomized the theoretical principles of Suprematism developed by Malevich in his 1915 essay From Cubism and Futurism to Suprematism: The New Realism in Painting. Now badly cracked, the iconic Black Square was shown by Malevich in the 0.10 exhibition in Petrograd in 1915. ![]()
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