Exploring Suprematism in Art: A Journey into Revolution-Era Russia

Suprematism, one of the earliest chapters in the history of abstract art, blazed a trail at the turn of the 20th century that remains worthy of continuous exploration. From the stark, geometric paintings of Suprematism’s creator, Kazimir Malevich, to the movement’s influence on present-day art, this style’s history is beyond rich. Equally notable is how Suprematism reflected the political and economic climate of the 20th century. Keep reading for a closer look at the complex world of Suprematism and an exploration of Suprematism in art.  

What is Suprematism in Art?

Suprematism was a movement that emerged in Russia during the Soviet Union that lasted from 1913 to the 1920s. It is best characterized by its claim of, in Malevich’s words, the “supremacy of pure feeling or perception” in art. Suprematist art thus prioritizes abstract, rather than realist, imagery to convey the emotions behind creativity. The result is artwork that is heavily idealized, rather than grounded in the objective world, and thus gives viewers plenty to explore and consider.

Given its emergence amid the Russian Revolution, Suprematism made an unmistakable splash. In fact, during Stalin’s rise to power in the 1920s, Suprematism came under direct attack. Additionally, the 1934 doctrine of socialist realism prohibited artmaking that deviated from realism. Although the Suprematist movement had largely faded by this point, this doctrine served quashed it. 

Under Suprematism I understand the primacy of pure feeling in creative art. To the Suprematist, the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.

Kasimir Malevich, from The Non-Objective World: The Manifesto of Suprematism

Rebellion was key to Suprematism’s emergence in the years prior to the Russian Revolution (1917-23). Malevich developed the style at the same time as Cubism and Futurism were emerging in Europe, attempting to emulate the instability and rapid societal shifts introduced by mechanization, industrialization, and warfare. He felt that these movements didn’t go far enough, as he explained in his work ‘The Non-Objective World: The Manifesto of Suprematism.’

Distinctive Features of Suprematism in Art

Below are some of the key identifiers of Suprematist art.

• Geometric abstraction. Suprematist artists employed simple, geometric shapes, such as squares, crosses, circles, and lines, against equally simple backdrops. They broke their subjects down into their most basic geometric forms — art’s “zero degree,” in Malevich’s words — to create abstractions of reality.

• Non-objectivity. Via their abstract style, Suprematist artists veered away from representational work in favor of non-objectivity. They rejected the idea of depicting objects and phenomena as they truly are.

• Use of primary colors. One of the most prominent motifs in Suprematist art is a reliance on black and white alongside primary colors — red, blue, and yellow. This color palette adds to the simplicity of the art style.
• Dynamic compositions. As part of Suprematism’s goal to defy natural logic and realism, objects in this art style appear to be in motion. Oftentimes, the geometric objects in Suprematist art look as if they are floating across the plane of the image.

Trailblazers of Suprematist art

The following artists are three of Suprematism’s most prominent figures.

Kazimir Malevich (1879–1935)

Suprematism’s creator is famous for his simple yet avant-garde geometric paintings. His work, unsurprisingly, embodies many of Suprematism’s key characteristics: simple backgrounds, primary colors, and floating shapes. 

Malevich’s painting “Black Square” (1915) made waves at the 1915–1916 “Last Futurist Exhibition of Paintings 0,10,” which took place at Petrograd’s Dobychina Gallery. Fellow Suprematist artists Kseniya Boguslavskaya, Ivan Klyun, Mikhail Menkov, Ivan Puni, Olga Rozanova, and Lyubov Popova displayed their work as well. Additionally, Malevich’s 1918 painting “White on White” was featured at the “Tenth State Exhibition: Non-Objective Creation and Suprematism.”

One of Malevich’s most quintessentially Suprematist works is his painting “Self Portrait in Two Dimensions,” which he completed circa 1915. While critics, historians, and contemporary viewers alike may question how this painting could be a self-portrait, adding a sense of mystery aligned with non-objective painting. His inventive use of circles, rectangles, trapezoids, and basic colors came to be enduring marks of Suprematism.

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El Lissitzky (1890–1941)

Russian artist El (Lazar Markovich) Lissitzky incorporated Suprematist principles into his often political art. El Lissitzky felt strongly that art existed not just to entertain the masses but to mobilize people and evoke poignant, emotional responses. As Russia underwent political turmoil during and after wartime, Malevich’s artwork, which ultimately expanded to graphic design and architectural design, became even more renowned. His characteristically Suprematist reliance on simple shapes and bold primary colors left an unmistakable and long-lasting impact on graphic design.

One of Lissitzky’s best-known Suprematist works is his 1919 lithograph “Beat the Whites with the Red Wedge.” This piece, which is a marked example of his politically charged artwork, features sharp, clear-cut geometric images in black, white, and red. Even the most casual viewer can’t help but ascertain Lissitzky’s fervent support of the Soviet Union’s Red Army given the work’s bold red colors. The intertwining of artistic abstraction with the artist’s politics makes this work another watershed moment within Suprematist art.

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Olga Rozanova (1886–1918)

Olga Rozanova was a key figure in Suprematism who brought an inventive flair to the movement. Many art historians have characterized her style as “cubo-futurist” — a seamless mixture of the principles of both cubism and futurism. Some of Rozanova’s most famous Suprematist works include her 1915 painting “Simultaneous Representation of Four Aces” and her 1916 painting aptly titled “Suprematism.”

Rozanova’s 1916 painting “Flight of Airplane” is a prime example of how effortlessly she combined Suprematism with other artistic motifs. Although the painting features abstract, geometric images, she deviates from the traditional black, white, and primary color palette. In its place is a sea of colors, including different shades of the same hue, such as light and dark blue. Through this painting and many others, Rozanova expanded the boundaries of Suprematism. 

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Suprematism’s Enduring Influence

While Suprematism’s peak was short-lived, its impact on art history in Russia and beyond simply can’t be overstated. For example, the artists of the Constructivist movement (1915–1930s) embraced geometric abstraction, primary colors, and ideas of movement in ways similar to Suprematist artists. In fact, Lyubov Popova is often grouped in with both the Suprematist and constructivist movements.

Suprematism’s dissemination outside Russia also led to the development of the De Stijl movement (1917–1931) in the Netherlands. This movement, which profoundly shaped 20th-century architecture, also made use of geometric shapes and primary colors. Additionally, the architectural principle of “form over function,” as well as clean horizontal and vertical lines in building design, may have De Stijl roots. If anything, all present-day art that’s non-objective, with simple color palettes, subject matter, and dynamic compositions, owes a debt to Suprematism.

Navigating the Art Market for Suprematism

Just as with any other art style, the market for Suprematist pieces is unique. Below are some insights on how to navigate it.

Assessing Value

Due to the short-lived nature of the Suprematist art movement, there is a distinct rarity to Suprematist artwork. As such, these pieces may be of high market value. After all, if you purchase an authentic Suprematist work, you are, in part, purchasing a meaningful relic of art history. You should expect your search and acquisition process for a piece of Suprematist art to be highly involved — and highly expensive.

Identifying Authenticity

The following are some tips for identifying true Suprematist pieces.

• Year created. There are undoubtedly still elements of Suprematism in contemporary art. However, if you’re searching for artwork made at the apex of Suprematism’s popularity, you’ll want to check the work’s date. The term “Suprematism” was coined in 1915, and anything from then through the 1920s is most likely to be quintessentially Suprematist.

• Artist location. Suprematism began shortly before the Russian Revolution, which continued through 1924 alongside this art movement. As such, you may have an authentic Suprematist work on your hands if it’s by a Russian artist active from 1913 through the 1920s. That said, Russian art from this period may belong to the Constructivist movement — artists such as Lyubov Popova and El Lissitzky participated in both.

• Motifs and imagery. Suprematist artwork is chiefly characterized by its abstract visuals and bright colors. These pieces are simplistic, but evocative, as Malevich and other Suprematist artists prioritized making their viewers feel rather than think. If you find a piece with these distinctive visual qualities, you’ve potentially found an authentic Suprematist work.

Visiting Auctions and Galleries

Purchasing Suprematist art requires patience and a good eye (and one would benefit from support from experts). As you look to acquire Suprematist art, you should ensure that you’re working with reputable auction houses. Established art auction platforms can point you in the direction of authentic Suprematist works. Invaluable also has a price archive to facilitate price research, which can be instrumental as you decide on a piece to bid on.

The Legacy of Suprematism

The principles of Suprematism are one of the cornerstones of contemporary abstract art. The movement’s most prominent works give present-day viewers invaluable insight into the social, political, and economic context of the 1920s Soviet Union as well.

If you’re curious about how Suprematism’s artistic motifs manifest in media beyond paintings, you’ll enjoy learning more about kinetic art. Peaking in the 1950s, this artistic movement is a testament — one of many — to Suprematism’s unmistakable impact on the fabric of art history.