As we can see - color; since in 1918 he virtually gave up...

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As we can see, Malevich stresses almost endlessly that the name of the new style refers to the supremacy of pure feeling in art over art's objectivity. The simplest geometric forms -- a square, a triangle, a circle, and intersecting lines -- composed into dynamic arrangements on the flat surface of the canvas or into spatial constructions (sometimes called architectons) -- are to express the sensation of speed, flight, and rhythm. In his 1918 Suprematist Composition, White on White, a step forward from Yellow Quadrilateral on White painted a year earlier, Malevich attempted to eliminate all superfluous elements, including the
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Unformatted text preview: color; since in 1918 he virtually gave up painting, perhaps these experiments convinced him that he had reached his goal and could not develop his Suprematist ideas any farther. Nevertheless, Malevich's ideas were so bold and innovative that despite the initial shock and fear, Suprematism quickly became a dominant style, espoused by both the public and the other artists, especially Rozanova, Rodchenko, Kliun, and Puni. And even though in 1919 the father of Suprematism announced the movement's demise, the reality-transcending and non-objective nature of Suprematism has had a great impact on the course of modern art...
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