Sentences with word «suprematist»

One of the only three known surviving plates created by the legendary Kazimir Malevich, this example is one of the finest examples of Suprematist composition for decorative arts.

The first actual exhibition of suprematist paintings was in December 1915 in St Petersburg, at an exhibition called O. 10.

This was perfectly in keeping with Malevich's artistic philosophy: one of the key purposes of Suprematist painting, after all, was to provide an insight into the non-objective, horizonless world of «higher» space.

Beginning in Moscow with Russian Suprematist artist Kazimir Malevich with his Black Square on a White Field (1915), monochromatic art works have seen a rapid growth, particularly in New York with the likes of abstract expressionists such as Ad Reinhardt in the 50s, to minimalism with artists such as Agnes Martin and Frank Stella in the 60s.

Russian Suprematist artist Kazimir Malevich furthered this flatness by placing flat colorful shapes on pure white backgrounds in his works, and De Stijl painter Piet Mondrian painted flat grids in red, blue, yellow, white, and black.

As had it been painted earlier, it would almost certainly have been included in this first ever showing of Suprematist work, because it is clear, from the frequency with which Malevich later exhibited the picture, that he thought very highly of the painting.

In the beginning of the twentieth century, Russian Suprematist painter Kasimir Malevich created some of the first monochrome paintings.

What would that great painter of the sea have thought of Morley's recent maritime scenes, with their oceans and jokey ships, not to mention those 3 - D airplanes flying overhead, festooned with Suprematist insignia?

Abstract sculptors who were influenced by Suprematist / Constructivist ideas included Sophie Taeuber - Arp (1889 - 1943) and Naum Gabo (1890 - 1977).

Suprematism is here described in short text - quotes and images of Suprematist art.

Though an admirer of artists such as Malevich and Mondrian, Quaytman was moved more by the spirit of optimism in Suprematist painting than its physical properties.

With this publication, the concerns of the Russian constuctivist and suprematist movements of the 1910s and 1920s, such as the reduction of artworks to their essential structure and use of factory production techniques, became more widely understood — and clearly inspired minimalist sculptors.

Malevich's Suprematist pictures were the very first purely geometric abstract paintings in the history of modern art.

The first Suprematist exhibition (Zero - Ten) took place in St Petersburg, in December 1915, and featured thirty - five abstract works by Malevich, including his famous Black Square hung like an icon high up across a corner, as well as a host of other rectangles, triangles and circles, many in vivid colours.

Black is — and isn't — a color, but from Suprematist painting through critical modern works of art, to the near - impossible (but highly improbable) advancements being made with it today, it's the non-substance that still refuses to give up its limits.

Kazimir Malevich, whose new Suprematist school of painting was to have its debut at the show, and Vladimir Tatlin, a founder of Constructivism, were in violent disagreement over the validity of abstract art.

Highly influenced by the art of Kazimir Malevich and Russian Suprematist theories, he became occupied with solid fields of color arranged in geometric forms of squares and rectangles, directly inspired by Malevich's Black Square (1915).

The most famous examples of his early Suprematist works include the two arguably most renowned paintings Malevich ever created: Black Square (1915) and White on White (1918).

A forthcoming exhibition at Tate Liverpool focuses on how Marc Chagall combined the Jewish folkloric painterly roots of his native Russia and the Parisian avant - garde, with its Fauvist, Cubist, Expressionist and Suprematist styles, to create a visual language of its own.

The work is part of Coventry's Estate series, which recalls Kasimir Malevich's graphic suprematist paintings but actually represents the layouts of British public housing estates.

The first Suprematist exhibition («0.10», Zero - Ten) took place in St Petersburg, in December 1915, and featured thirty - five abstract works by Malevich, including a host of rectangles, triangles and circles, many in vivid colours.

Her work is reminiscent of Suprematist ideas, while adding interpretive layers through the use of layering and line.

Reminiscent of Suprematist aesthetics, the strength and severe geometry of their lines also recalls the abstraction of High Modernism, drawing attention to its devolution into the world of commercial decor.

Malevich's early black - on - white Suprematist paintings reveal the frame as a structural component within the ground of the painting.

Whether she's a prim homemaker intoning Malevich's Suprematist call for truth over sincerity to her children at the dinner table as if it were grace, a dishevelled homeless man in an apocalyptic wasteland declaring the old world dead, or a wasted party reveller praising a century illuminated by electricity, Blanchett's performance has a chameleon bravura that turns what could have been a dry conceptual exercise into a hilariously absurdist provocation.

If the title sounds a bit dry — like some glum suprematist exercise — the work is anything but.

Included Middle (Suprematist Light), 26.75» H x 40» W, Edition of 3, Archival Inkjet print on Baryta paper mounted on aluminum in a black lacquer frame

Hadid often acknowledged the influence of the Russian avant - garde on her work, describing her buildings as «spatialising Suprematist composition into the third dimension».

Malevich himself described Suprematist paintings as «new icons,» holy images for the new aesthetics of abstract art.

A late van Gogh landscape and one of Kazimir Malevich's last major Suprematist paintings will headline Sotheby's Impressionist and modern sales in New York on November 5.

Other famous Suprematist artists included Lazar Lissitsky, Ivan Vasilievich Kliun and Laszlo Moholy - Nagy.

The main interest of Malevich (and his fellow Suprematist artists) was to search for the so - called zero degree of painting, the point beyond which the medium could not go without ceasing to be art.

The show will also include 30 major pieces from the Russian avant - garde suprematist and constructivist movements, loaned by the Tretyakov State Gallery in Moscow and the Russian Museum in St Petersburg.

Ruscha, showing a surprising interest in the new abstract painting, has canceled out phrases appropriated from gangster movies - «You Cross Me I Wan na See Blood» - on small canvases, producing Suprematist - like abstractions.

Kasimir Malevich (1878 — 1935) Suprematist avante - garde painter (see Suprematism) One of the greatest 20th century painters from Russia.

«Drawing upon the Cubo - futurist, Constructivist and Suprematist design principles of his native Russia as well as the utilitarian pragmatism of the German Bauhaus, Kozyrev juxtaposes these modernist tropes with a Vermeer - like Dutch interior or the depiction of a ruined bunker in Finland, exploding the images» contextual logic into a postmodern pastiche of historical culture.

In pride of place is an entire Malevich gallery in which his marvellous Suprematist Construction of Colours tilts away at some stratospheric future in turquoise, pink and bright yellow on white board.

Like the philosopher - mathematicians who devised «fuzzy logic,» new casualists, like Suprematists, seek to accommodate a world in which there is often no clear truth or falseness.

At its core is an overarching reconfiguration of various systems of knowledge — scientific, spiritual or social — towards a «suprematist contructivism» which questions the pre-existing order of things.

Constructivist furniture and decor accessories, combined with suprematist artworks, wall paintings, home decorations and floor decor items...

Here are square, entirely blue paintings, from The Color of Blue, homages to Kazimir Malevich's square suprematist compositions and Yves Klein's affection for blue, and shaped monochromatic paintings from their «Axis» series, exploring the impact of shape on a color's hue and force.

These sculptures appear mechanised, light glancing off the corners and flat lines, creating a spatial rhythm reminiscent of the works of the great Russian Suprematist painter Kazimir Malevich.

For an description of Suprematism you can also use Wikipedia, and for Suprematist art images, I suggest Wikiart.

A 1916 canvas that was included in every major survey of Malevich's Suprematist works mounted during his lifetime, and revolutionised modern art — offered in the Impressionist and Modern Art Evening Sale in New York on 15 May

The great Suprematist Kazimir Malevich's ideas of «new beauty» were afoot anew.

Historically, Mr. Martiny's work to date fits right into the continuum of monochromatic painting, a contemporary reductive movement which has advanced the concerns and broadened the interests of the classic Minimalists of the 1960s and of the much earlier Suprematists, who openly sought the «death of painting» with their monochromatic efforts.

Through this piece, with each of its six stacked steel boxes framing a different colored Plexiglas sheet, Judd boldly declares himself a descendant to Suprematist ideas of pure form.