Editing Suprematism (section)

{{Short description|Early-20th-century Russian art movement}}
{{Distinguish|Supremacism}}
{{Infobox art movement
|name=Suprematist art
|country=[[Russian Empire]]<br/>[[Soviet Union]]
|yearsactive=
|majorfigures=[[Kazimir Malevich]]
|influences={{cslist|[[Cubism]]|[[Futurism]]|[[P. D. Ouspensky]]}}
|influenced={{cslist|[[Bauhaus]]|[[De Stijl]]}}
|image=Malevici06.jpg
|caption=Kazimir Malevich's ''Suprematism'', 1916–17, Krasnodar Museum of Art
|image_upright=1
}}

'''Suprematism''' ({{langx|ru|супремати́зм}}) is an early 20th-century art movement focused on the fundamentals of geometry (circles, squares, rectangles), painted in a limited range of colors. The term ''suprematism'' refers to an [[abstract art]] based upon "the supremacy of pure artistic feeling" rather than on the [[figurative art|figurative depiction]] of real-life subjects.<ref>{{cite book|last=Malevich|first=Kazimir|title=The Non-Objective World|year=1927|location=Munich}}</ref>

Founded by Russian artist [[Kazimir Malevich]] in 1913,<ref>{{Cite web|last=Tate|title=Suprematism – Art Term|url=https://www.tate.org.uk/art/art-terms/s/suprematism|access-date=2021-11-09|website=Tate|language=en-GB}}</ref> '''Supremus''' ({{langx|ru|Супремус}}) conceived of the artist as liberated from everything that predetermined the ideal structure of life and art.<ref>{{Cite book|last=Potter|first=Polyxeni and Centers for Disease Control and Prevention|title=Art in Science: Selections from EMERGING INFECTIOUS DISEASES.|publisher=Oxford University Press|year=2013|isbn=978-0-19-931571-0|location=New York}}</ref> Projecting that vision onto [[Cubism]], which Malevich admired for its ability to deconstruct art, and in the process change its reference points of art,<ref name=":0">{{Cite book|last1=Gourianova|first1=Nina|url=https://www.worldcat.org/oclc/748941743|title=The aesthetics of anarchy: art and ideology in the early Ukrainian avant-garde|last2=Гурьянова|first2=Н. А.|date=2012|publisher=University of California Press|isbn=978-0-520-26876-0|location=Berkeley|oclc=748941743}}</ref> he led a group of [[Russian avant-garde]] artists—including [[Aleksandra Ekster]],<ref>{{Cite book|last=Hodge|first=Susie|url=https://www.worldcat.org/oclc/1090652528|title=I know an artist : the inspiring connections between the world's greatest artists|date=2019|others=Sarah Papworth|isbn=978-1-78131-844-7|location=London|oclc=1090652528}}</ref> [[Liubov Popova]], [[Olga Rozanova]], [[Ivan Kliun]],  [[Ivan Puni]], [[Nadezhda Udaltsova]], [[Nina Genke-Meller]], [[Ksenia Boguslavskaya]] and others<ref>{{Cite book|last=Boersma|first=Linda S.|url=https://www.worldcat.org/oclc/33984058|title=0,10 : the last futurist exhibition of painting|date=1994|publisher=010 Publishers|isbn=90-6450-135-1|location=Rotterdam|oclc=33984058}}</ref>—in what has been described as the first attempt to independently found a Russian avant-garde movement, seceding from the trajectory of prior Russian art history.<ref name=":0" />

To support the movement, Malevich established the journal ''Supremus'' (initially titled ''Nul'' or ''Nothing''), which received contributions from artists and philosophers.<ref name=":1">{{Cite book|last=Souter|first=Gerry|url=https://www.worldcat.org/oclc/793511481|title=Malevich : journey to infinity|date=2012|publisher=Parkstone International|isbn=978-1-78042-926-7|location=New York|oclc=793511481}}</ref> The publication, however, never took off and its first issue was never distributed due to the [[Russian Revolution]].<ref name=":1" /> The movement itself, however, was announced in Malevich's 1915 [[0,10 Exhibition|Last Futurist Exhibition of Paintings 0,10]], in St. Petersburg, where he, and several others in his group, exhibited 36 works in a similar style.<ref name="HF">[[Hugh Honour|Honour, H.]] and Fleming, J. (2009) ''A World History of Art''. 7th edn. London: Laurence King Publishing, pp. 793–795. {{ISBN|978-1-85669-584-8}}</ref>