PARADOXY IN KASIMIR MALEVIC: THE REVOLUTIONARY SUPREME TRADITIONAL STANCE

Abstract

Kasimir Malevich (1878-1935), the modern era Russian artist, brought up the abstract art movement, called suprematism by him, at the beginning of the 20th century (about 1910s). He is a well-known representative of abstract art in the context of suprematism in the modern era. Malevich reduces painting to geometric forms with suprematism. By doing so, the artist purifies the painting from all nature and elements. The artist wanted to carry out the painting art to the zero point with his geometry-based suprematist works, and with this idea, he objected to the mimetic painting tradition in Europe. However, Malevich’s suprematist art thought would not last long; later, he left his suprematism idea and returned to all traditional art and aesthetic values that he had criticized before the 1930s. Actually, it was not an inconsistency. It was a renunciation of revolutionary and innovative things. In a way, because of the Russian Revolutions, which took place in his era, the art policies of the state and the audiences in his society motivated him to return to figurative painting again. From another point of view, Malevich gave up the non-figurative painting in the suprematist approach for the sake of his nostalgia because of his past of art education and returned to figurative painting. Therefore, there is a paradoxical situation in Malevich’s example.

Keywords

• Kasimir Malevich
• Paradox
• Suprematism
• Stereometry
• Pure Art
• Abstract Art.

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