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In brief, the history of Malevich's painting is inseparable from the Russian Revolution. After the outbreak of the October revolution, Malevich became the representative of the geometric abstract. White on White is a kind of absolute spiritual worship. Through this work, Malevich shows his yearning for pure life and the thinking of form and color. He built a white world through numerous white squares, but the world was not so simple as white. White is the ultimate emotional impulse and the culmination of its artistic expression. In front of Malevich, art has no boundaries. Supremacy is a kind of art thought created by Malevich. He thinks that the purpose of painting is not to show the image, so the image can be simplified. But to some degree, White on White is the end of the supremacy. After the death of Lenin in 1924, the cultural and artistic policies of the Soviet Union changed greatly. Realism has become an important force of art, holding the power of art. Malevich had to give up the art of supremacy under the rule of Stalin. Great changes have taken place in Malevich's characters. He changed the form of human beings to express the geometric form of each part: spherical, irregular quadrilateral and triangle, which was the remnant of supremacy. Girls in a field lack facial features, and rigid symmetry looks like a feature that is not completely connected to the modern material world. Malevich painted every geometric element outline, and then draws the color black and white, red, blue, green, pink and brown. In a word, with its unique power, Malevich leaped out from the history of Western art, and stood in the visual art of the world.
Work Cited
Malevich, Kazimir. "Suprematist Composition: White on White." Artsource (2007).
Esther Levinger. "Kazimir Malevich on vision and sensation." Word & Image 21.1(2005):79-89.
Drutt, Matthew, and K. S. Malevich. "Kazimir Malevich : Suprematism. New York : Guggenheim Museum " (2003):95
Park, Yoon Jeong. "The Study on the Costume of Art in the Russian Suprematism - Focused on Kasimir Malevich's Art Works -." 17.6(2009):28
Misiano, Viktor. "Motion Studies." Artforum International 48.7(2010):226-231.
Long, Jim. “Kazimir Malevich: Suprematism.” The Brooklyn Rail.August 1st.2003.April 1.2018.
Milner, John,ed. “Revolution: Russian Art 1917–1932.” Artbook. November 2,2017.April 1,2018.< http://www.artbook.com/9781910350430.html>
Taidre, Elnara. "KAZIMIR MALEVICH’S SUPREMATISM AND MODERNIST ARTISTIC MYTHOLOGY AS AN ALTERNATIVE TO RELIGION." Baltic Journal of Art History 7(2014):111.
Thomas, Alello "Head-First Through the Hole in the Zero: Malevich’s Suprematism, Khlebnikov’s Futurism, and the Development of a Deconstructive Aesthetic, 1908-1919." (2005): 3-1.
Zhadova, L., and K. S. Malevich. Malevich : suprematism and revolution in Russian art 1910-1930. Thames and Hudson, 1982.
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