Kazimir Malevich was a Russian avant-garde artist and art theorist, renowned for his groundbreaking work in geometric abstract art and the establishment of the Suprematism art movement. Born in 1879 in Kyiv, Ukraine, Malevich studied at the Moscow School of Painting, Sculpture, and Architecture, where he encountered various artistic styles and movements. Malevich’s early works were influenced by Impressionism and Symbolism, but he soon developed his distinctive style, which would later be known as Suprematism.
Malevich’s most celebrated work, “Black Square,” is regarded as one of the most iconic paintings of the 20th century and a seminal work of the Suprematist movement. Malevich’s art was revolutionary for its use of geometric shapes and bold colours, and it significantly influenced the development of abstract art. Malevich was not only a painter but also a prolific writer and art theorist.
He authored several manifestos and essays on art, in which he expounded his ideas about the spiritual and philosophical nature of art. Malevich posited that art should transcend the material world and aspire to a higher, more spiritual reality. He viewed Suprematism as a means of achieving this goal, utilising simple geometric shapes and colours to express universal truths and ideals.
Malevich’s work and ideas were highly influential in the development of abstract art and had a lasting impact on the trajectory of 20th-century art history.
Summary
- Kazimir Malevich was a pioneering Russian artist known for his creation of the Suprematist movement.
- Russia in 1914 was a time of political and social upheaval, which greatly influenced Malevich’s artistic vision.
- “An Englishman in Moscow” is a significant work by Malevich, reflecting his exploration of geometric forms and bold use of colour.
- Suprematism, Malevich’s unique style, focused on the use of basic geometric shapes and limited colour palettes to convey pure artistic expression.
- Malevich’s legacy as a leading figure in the avant-garde art movement continues to influence artists and art movements to this day.
The Context: Russia in 1914
The Romanov Dynasty’s Grip on Power
The Romanovs had ruled Russia for over three centuries, with their authority largely unchallenged. However, as the 20th century dawned, the dynasty’s grip on power began to falter. Tsar Nicholas II, who had ascended to the throne in 1894, struggled to maintain the traditional autocratic system in the face of growing demands for reform.
Rising Tensions and Discontent
The Russian people were increasingly disillusioned with the Tsar’s rule, which they perceived as out of touch with their needs and aspirations. The country’s industrialisation had created a new urban working class, who were exposed to radical ideas and sought better working conditions, higher wages, and greater political representation. The peasantry, too, were dissatisfied with the Tsar’s policies, which they believed favoured the nobility and landowners at their expense.
A Perfect Storm of Crisis
As the country lurched towards revolution, a combination of factors created a perfect storm of crisis. The disastrous Russo-Japanese War of 1904-1905 had weakened Russia’s international standing, while the Tsar’s disastrous handling of the 1905 Bloody Sunday massacre had further eroded his popularity. The assassination of Archduke Franz Ferdinand of Austria-Hungary in June 1914 would prove the catalyst for Russia’s entry into the First World War, an event that would ultimately seal the fate of the Romanov dynasty.
Amidst this turbulent backdrop, the Russian art world was also undergoing significant changes. The early 20th century saw a flourishing of avant-garde art movements in Russia, as artists sought to break free from traditional artistic conventions and explore new forms of expression. This period of artistic experimentation and innovation laid the groundwork for the emergence of movements such as Cubo-Futurism, Constructivism, and Suprematism, with artists like Malevich at the forefront of these developments.
Malevich’s work reflected the spirit of change and upheaval that was sweeping through Russian society at the time, as artists sought to create new visual languages that reflected the modern world around them.
The Subject: An Englishman in Moscow
Malevich’s painting “An Englishman in Moscow” is a striking example of his Suprematist style and a testament to his innovative approach to art. The painting depicts a figure standing in a cityscape, rendered in bold geometric shapes and vibrant colours. The figure is fragmented and abstracted, with no clear delineation between the body and the surrounding environment.
The use of sharp angles and dynamic lines creates a sense of movement and energy, capturing the bustling atmosphere of the city. The composition is dominated by primary colours, with red, blue, and yellow intersecting and overlapping to create a sense of depth and dimension. “An Englishman in Moscow” is a prime example of Malevich’s belief in the power of art to transcend the material world and express universal truths.
The painting goes beyond mere representation and seeks to capture the essence of the modern urban experience. The figure in the painting is not just an individual but a symbol of the human presence in an ever-changing and dynamic environment. Malevich’s use of geometric abstraction and bold colours creates a sense of dynamism and vitality, reflecting the energy and excitement of urban life.
“An Englishman in Moscow” is a testament to Malevich’s ability to distill complex ideas and emotions into pure visual form, creating a work that is both intellectually stimulating and emotionally resonant.
The Style: Suprematism
Suprematism was an art movement founded by Kazimir Malevich in 1915, which focused on the use of geometric shapes and primary colours to create non-representational works of art. The movement sought to move beyond the constraints of traditional artistic representation and explore new forms of visual expression. Suprematist artists aimed to create works that were pure in form and free from any external references or associations.
Malevich described Suprematism as “the supremacy of pure feeling or perception in the pictorial arts,” emphasising the movement’s focus on emotion and intuition over rational thought. The key elements of Suprematist art were simple geometric shapes such as squares, circles, and lines, as well as primary colours such as red, blue, and yellow. These elements were arranged in dynamic compositions that sought to convey a sense of movement, energy, and rhythm.
Suprematist artists believed that these basic forms and colours had universal significance and could evoke profound emotional responses in viewers. Malevich saw Suprematism as a means of transcending the material world and tapping into a higher spiritual reality through art. The movement had a significant impact on the development of abstract art, influencing artists around the world and shaping the course of 20th-century art history.
The Impact: Malevich’s Legacy
Kazimir Malevich’s legacy as an artist and art theorist is profound and far-reaching. His pioneering work in Suprematism had a lasting impact on the development of abstract art, influencing generations of artists around the world. Malevich’s bold use of geometric shapes and primary colours challenged traditional notions of representation and paved the way for new forms of visual expression.
His ideas about the spiritual and philosophical nature of art also had a profound impact on art theory, shaping the way that artists and critics thought about the purpose and meaning of art. Malevich’s legacy extends beyond his artistic achievements to his role as a teacher and mentor to younger artists. He played a key role in shaping the course of Russian avant-garde art through his work as an educator at various art schools and his involvement in artistic circles such as the Supremus group.
Malevich’s influence can be seen in the work of artists such as El Lissitzky, Alexander Rodchenko, and Lyubov Popova, who were all part of the wider Suprematist movement. Malevich’s legacy continues to be celebrated today through exhibitions, publications, and scholarly research that seek to explore his enduring impact on the course of art history.
The Controversy: Reception and Criticism
Malevich’s work was not without controversy, as it challenged traditional artistic conventions and provoked strong reactions from critics and audiences. When Malevich first exhibited his Suprematist paintings in 1915, they were met with bewilderment and scepticism from many viewers who struggled to understand their radical departure from representational art. Critics accused Malevich of abandoning traditional artistic values in favour of an abstract style that they saw as devoid of meaning or skill.
Some even went so far as to label his work as “anti-art” or “nihilistic,” reflecting the deep-seated resistance to change within the art world at the time. Despite these initial criticisms, Malevich’s work gradually gained recognition and acclaim within avant-garde circles both in Russia and abroad. His ideas about the spiritual nature of art struck a chord with many artists who were seeking new ways to express their experiences of the modern world.
Malevich’s influence can be seen in the work of artists such as Piet Mondrian, Theo van Doesburg, and other members of the De Stijl movement in the Netherlands, who were inspired by his use of geometric abstraction and primary colours. While controversy continued to surround Malevich’s work throughout his lifetime, his legacy has ultimately been one of profound influence and lasting impact on the course of 20th-century art history.
The Significance: An Englishman in Moscow in Art History
“An Englishman in Moscow” holds significant importance within the broader context of art history as a prime example of Malevich’s innovative approach to visual expression. The painting encapsulates many key elements of Malevich’s Suprematist style, including its use of geometric abstraction, bold colours, and dynamic composition. It represents a pivotal moment in the development of abstract art, as Malevich sought to move beyond traditional representational forms towards a more pure and universal mode of expression.
The significance of “An Englishman in Moscow” lies not only in its formal qualities but also in its ability to capture the spirit of its time. The painting reflects the energy and dynamism of urban life in early 20th-century Russia, encapsulating the sense of change and upheaval that was sweeping through society at the time. Malevich’s innovative approach to visual representation challenged traditional artistic conventions and paved the way for new forms of visual expression that would have a lasting impact on the course of 20th-century art history.
In conclusion, Kazimir Malevich’s “An Englishman in Moscow” stands as a testament to his pioneering work in Suprematism and his enduring impact on the development of abstract art. The painting represents a pivotal moment in the history of modern art, capturing both the spirit of its time and Malevich’s innovative approach to visual expression. Malevich’s legacy continues to be celebrated today for its profound influence on generations of artists around the world, shaping the course of 20th-century art history for years to come.
If you are interested in learning more about the artistic movements that influenced Kazimir Malevich’s painting “An Englishman in Moscow” (1914), you should check out the article on Cubism. Cubism, with its emphasis on geometric forms and multiple perspectives, was a major influence on Malevich’s work and played a significant role in the development of abstract art. Understanding the context of Malevich’s painting within the broader art movements of the time can provide valuable insight into the significance of his innovative approach to composition and form.
