K. Malevich (1878-1935), from Impressionism and Symbolism and Art Nouveau, Cezanne, Matisse and Derain's, national painter of rustic scenes, composed in 1911-12 figures in a geometric cylindrical, cube-futurist ("Grinder” , 1912-13, Yale University, USA), influenced by Léger, to the ends of abstractization of geometric bodies of revolution, painted with careful modeling in 1912-13, the year he adopted a cubist imagery to a syntactic "transnational "(" Zaorum ", as we saw), or" alogic, compositions, not without humor confused with the spirit "given" ("An Englishman in Moscow, 1913-14, Amsterdam," Partial Eclipse with Mona Lisa " 1914, col. part. Leningrad). But in 1915, Malevich said he made the first works "suprematists," based on the elementary forms of square, circle and cross vertical-horizontal rectangles. The famous "square black on white" (Tretyakov Museum, Moscow), shown in 1915, is emblematic of this phase, possibly marked the work of decorating the Futurist opera "Victory Over the Sun" (1913), with music by M. Matinchine, translator of "Du Cubisme" of Gleizer - which would, in 1917, the painter of "realism in space," in large colored bands, interested in psycho-physiological research on the art visible.
The "Suprematism" as a supreme aesthetic state "monumental", "not objective" deduction based on a conceptual level, is rooted in the philosophical thought of the post-Kantian metaphysics P. D. Ouspenki (“Tercium Organum”, 1911) who, referring to a" higher form of existence" and announcing a "language of the future”, regardless of the real world, exercise (perhaps through Matinchine) great influence on the painter, also interested in "the fourth dimension" (Ouspenki, 1908, on "space-time continuum" of mathematics of Minkowski, 1908) - and still fascinated by the symbolist rhetoric inherent in that thought. "All they're ready to lose all hold new findings (Ouspenki, 1913) applies to the diligence of whom Malevich" Black Square "was" a flat-surface alive, now even born "(" From Cubism and Futurism and Suprematism, a new pictorial realism, 1916); test would be resumed in 1920, as we know, in From Cezanne to Suprematism, the first semantic unit building free pair of systems "flat surfaces" in space, unconditional freedom of movement (cf. A. B. Nakov, 1975) - "zero," which since 1915 has defined its pictorial experience, was a full, equal to the infinite and absolute, the "harmony, rhythm and beauty" (Mirror Suprematist, 1923 ), not the end of a speech earlier aesthetic, a kind of nillyism (cf. D. Valle, 1967). It always defended Malevich, a work that has consistently been to the "square white on white" (1918, MAM, New York), after three or four years of multiple compositions that have the volume, as those architectural possible, the "planitis ". Numerous texts by Die Welt Gegentandslose ("The world has no purpose," published by the Bauhaus, 1927), proclaim or defend a polemical aesthetic and philosophical doctrine that the painter was able to teach in Vitebsk, against the wishes of Chagall, and won, the group UNOVIS, which created in 1920-21, and within two years, the Institute of Artistic Culture in Leningrad - but that already attacked in 1919 by the Constructivists was supposed by idealism, contrary to official line aesthetic and hardly tolerated, as in 1927. Since 1930, the year he was arrested by secret police, conducted a Malevich painting figurative landscapes and portraits that are not without bitter irony - and, in 1935, was buried in a coffin suprematist that he had intended, causing painted on a white background a circle and a black square.
