He ridiculed all the art that came before him. He called Academic Art, Impressionism and Cubism “nothing but dialectic methods.” He said they in no way determine the true value of art.
Sheesh! Who is this guy?
Meet Kasimir Malevich, one of the early abstract painters and one of the exhibiting artists in the Museum of Modern Art’s currant show “Inventing Abstraction, 1910–1925.”
Anti-representational, http://www.examiner.com/article/abstract-art-made-clear-as-black-and-white he believed that feelings and thoughts are more important than objects and called his art of pure feeling “suprematism.” He used geometric shapes and a limited palette to express himself
In “Dynamic Suprematism,” large rectangles are set in one direction and smaller ones set in another. By their contrasting directions, even despite their freedom of association with anything in the visible world, they appear to move.
In “Black Trapezium and Red Square,” Malevich introduces a dark trapezoidal mass that, despite its size and shade, fights for attention from a decidedly smaller red square. This not only demonstrates the power of color, but also shows that recognizable objects are not necessary to tell a story. Malevich’s point, exactly.
Far from anything the art world had known in the early ‘20s, Malevich acknowledged that his disregard of the past, even his recent past, was a problem for people.
“In a desperate attempt to rid art of the ballast of objectivity, I took refuge in the form of the square, and exhibited a picture that represented nothing more than a black square on a white field, the critics - and with them society - sighed, ‘All that we loved has been lost. We are in a desert. Before us stands a black square on a white ground.’ But the desert is filled with the spirit of non-objective feeling, which penetrates everything.”
Malevich believed in his work so completely that he had his coffin covered with his own work.
Way to go, Kasimir.