Inspiration
He consequence is that this work gives an impression of flatness, on the flat surface of which all the objects are given an identical pictorial realisation. The power of this realisation is such that it is not spatially clothed in grdations of light such as we see in the Impressionaism.
Contrast of forms
Can one really assert that these two eminent artistic thinkers brought to their work neither “intellect” nor “emotion”?
In 1913, 14, M significantly classified his paintings into two categories :”Transmental realsiam” and “Cubo-futurist realsim”. In 1915, he returened to to this, calling “supermatism”, his “non-objective whole” the “new pictorial realsim”. In similar fashiom, the pecsner brotherand Naum Gabo entitled their 1920 pamphelt calling for a new form of sculpture “without objects” realist Mnifesto.
Supermatism
Slavic art
In short, Malevich introduced a Duchamp ready-made into a Picasso-style Cubist painting, thus questioning their relative status. A reproduction of the Mona lisa lies at the heart of Conposition with Mona lisa, which carries the inscription “Partial eclipse”, while two collage fragments offer an “Appartment to let in Moscow” just beneath Leonardo’s most famous work, itself crossed out with several red lines; This manifesto against a reliance on the past is comparable to the moustaches Duchamp added to the Mona kisa.
“Cowardice and stick-in-the-mud-ism” and “Artistic feebleness”
The black square is not figurative. It is exemplary case of figuration. It is the figure as emblem, it is emblematic of the figure,
