Kazimir Malevich Famous Quotes
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In 1913, trying desperately to liberate art from the ballast of the representational world, I sought refuge in the form of the square.
Man, as a form, bears within him the eternal principle of being, and by economic movement along his endless path his form is also transformed, just as everything that lives in nature was transformed in him.
By suprematism I mean the supremacy of pure feeling in creative art.
Painting is the aesthetic side of the object but it has never been original, has never been its own goal.
Everywhere there is craft and technique; everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of its awkwardness it obstructs that inner element ...
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.
To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.
I ripped through the blue shade of the constraints of color.
Color is the essence of painting, which the subject always killed.
For the Suprematist, 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.
I recommend that you should work actively ... 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.
Aestheticism is the garbage of intuitive feeling.
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" (that is, the "time-tested well-spring of life").
Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
Being a painter, I ought to say why in pictures people's faces are painted green and red.
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, infinity, lies before you.
In art there is a need for truth, not sincerity.
Shouldn't it give us pause that the oldest works of art are as impressive today in their beauty and spontaneity as they were many thousands of years ago?
A face painted in a picture gives a pitiful parody of life ... but a painted surface lives.
Only when the habit of one's consciousness to see in paintings bits of nature, madonnas and shameless nudes ... has disappeared, shall we see a pure painting composition.
When, in 1913, in a desperate attempt to rid art of the ballast of objectivity, I took refuge in the form of the square ... the critics ... sighed, "All that we loved has been lost. We are in a desert" ... But the desert is filled with the spirit of non-objective feeling ...
