Suprematism Art and Architecture

SUPREMATISM

Ananthashri T Priyadharshini S

Which

followed before

suprematism?

■ The Suprematists searched for the ‘zero degree’of painting

■ The point beyond which the medium could not go without ceasing to be art.

■ The square, circle, and cross became the group’s favourite motifs.

■ For Suprematist artists the visual phenomena of the objective world were in themselves meaningless; what was instead significant was feeling.

■ The word “Suprematism” was coined to describe the movement, as one that would lead to the supremacy of pure feeling or perception in the pictorial arts.

How Suprematism started?

● New revolution in russia during 1st world war.

Need for the birth of new art movement.

Opposition of Constructivism.

Influence of Cubism and Futurism.

Founded in 1913 but came into revolution on

Characteristics

Famous artists of suprematism

Kazimir

Black square- 1915

● Painted for 1915-Last futurist exhibition of paintings 0.10, (Zero- year zero could begin again, Ten- ten participants initially).

● Non- objective painting, play of foreground and background, shape, colour….

● Nothing- start from zero for new revolution.

The square = feeling, the white field = the void beyond this feeling’

“the expression of pure feeling, seeking no practical values, no ideas, no 'promised land.'”

Airplane flying- 1915:

● Malevich employs a palette of red, yellow, black, and a plain white background against which the shapes might appear to float. Indeed, the painting represents his interest in the idea of non-Euclidean geometry, an anti-rational practice that “defied logic” by giving the illusion of flat and irregular geometric forms floating or moving in/through space.

Inspired by Vladimir Markov’s concept of “faktura” which related to the idea of the search for “the divine” in the plastic arts, Malevich’s vision could offer the viewer a route to this new spiritual awareness through an absolute focus on color and texture.

● Indeed, in the same exhibition literature, Malevich wrote, “Color and texture in painting are ends in themselves. They are the essence of painting, but this essence has always been destroyed by the subject”.

Architectural Form:

● The form of Suprematist architecture is constructed out of the pure form, the cubic. The architectural drawings and models that Malevich constructed over the twenties carried a strong emphasis on the composition of the geometric elements; forms, volumes, and planes. The arkhitekton, a plaster structure with an undefined scale, comes closest to the vision of the spatial form of Suprematist architecture

● The arkhitekton reminds of the architectural object, either as a building or a complex. Nonetheless, it remains undefined in what it is – or could be. It has no function, and does not imply a use of space: it merely defines the form of the object itself. A range of these structural compositions was produced, and are roughly categorizable in horizontal and vertical models. The vertical oriented arkhitektony especially lacks in the dynamic sensation.

Future Planity-1923:

● There is no application of shadow. The composition is formed by contrasting planes of white and black. Yet, probably due to the chosen perspective of the projection, there is a spatial component introduced to the drawing. It is noticeable that the invention of the airplane, and thereby the “possibility” of interplanetary flight, influences the dynamics and projection of his work.On the left side and along the bottom he draws the elevations of the project in planar view. The planar compositions of the elevation and plan lack the dynamic element, they seem rather static ‘symmetrical’ appearance

El Lissitzky (1890 – 1941)

of

in the years 1919 to 1923,

Lissitzky who

“Proun”.

De Stijl

between

the Bauhaus.

Beat the Whites with the Red Wedge

● In the poster, the intrusive red wedge symbolizes the Bolsheviks, who are penetrating and defeating their opponents, the White movement, during the Russian Civil War.

● The Russian Civil War, which broke out in 1918 shortly after the October Revolution, was fought mainly between the “Reds,” led by the Bolsheviks, and the “Whites,” a politically-diverse coalition of anti-Bolsheviks.

Lazar Khidekel aerial city of the future (1925-1932)

● Khidekel ’s experimental town-planning projects came to revolve around the idea of a city laid out over a communications network sunk into the ground or raised well above it and incorporating a conception of vertical zoning radically different from that of his colleagues.

● His outlines of architectural complexes in the form of suprematist compositions dating from this time clearly reveal an element of vertical stratification in their spatial organization.

● Buildings and structural complexes do not simply rest on the ground, but are raised to various levels above it, while their component elements intersect each other at right angles.

● Clear space, cuttings, canals and pristine nature underlie these structures.

● aero-city concept

Conclusion

● The transition of the additional element from the canvas to space

● Why these compositional structures have not been constructed, remains an open-ended issue on which we can only reflect. Whether the origin of this issue resides in the execution of the design, the utopian pursuit of the city or perhaps another cause altogether continues to be open for further discussion.Does not relate to how man would perceive the structure in reality

Plane projection on paper and stands to inspire artists and architects.

●

of basic

and limited

ZAHAHADID BRINGING TOTHE LIFE OF DEGREE ZEROARCHITECTURE IN 21st CENTURY

Spittelau Viaducts Housing by Zaha Hadid Architects

THANK YOU

Ananthashri T Priyadharshini