Quotes of All Topics . Occasions . Authors
A painted surface is a real, living form.
In art there is a need for truth, not sincerity.
I ripped through the blue shade of the constraints of color.
Color is the essence of painting, which the subject always killed.
By suprematism I mean the supremacy of pure feeling in creative art.
The square = feeling, the white field = the void beyond this feeling.
A face painted in a picture gives a pitiful parody of life. . . but a painted surface lives.
Painting is the aesthetic side of the object but it has never been original, has never been its own goal.
Only dull and impotent artists screen their work with sincerity. In art there is need for truth, not sincerity.
I have broken the blue boundary of color limits, come out into the white; beside me comrade-pilots swim in this infinity.
Every real form is a world. And any plastic surface is more alive than a face from which stares a pair of eyes and a smile.
With the most primitive means the artist creates something which the most ingenious and efficient technology will never be able to create.
Man's skull represents the same infinity for the movement of conceptions. It is equal to the universe, for in it is contained all that sees in it.
Shouldn't it give us pause that the oldest works of art are as impressive today in their beauty and spontaneity as they were many thousands of years ago?
I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting - to non-objective creation.
Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
Only when the habit of one's consciousness to see in paintings bits of nature, madonnas and shameless nudes... has disappeared, shall we see a pure painting composition.
I perceived that the 'thing' and the 'idea' were taken to be equivalents of feeling, and understood the lie of the world of will and idea. Is the milk bottle the symbol of milk?
The appearances of natural objects are in themselves meaningless; the essential thing is feeling - in itself and completely independent of the context in which it has been evoked.
The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.
Everywhere there is craft and technique; everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of its awkwardness it obstructs that inner element.
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.
There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement.
I have established the semaphore of Suprematism. I have beaten the lining of the colored sky, torn it away and in the sack that formed itself, I have put color and knotted it. Swim! The free white sea, infinity, lies before you.
For the Suprematist, the proper means is the one that provides the fullest expression of pure feeling and ignores the habitually accepted object. The object in itself is meaningless to him, and the ideas of the conscious mind are worthless.
When, in 1913, in a desperate attempt to rid art of the ballast of objectivity, I took refuge in the form of the square... the critics... sighed, "All that we loved has been lost. We are in a desert"... But the desert is filled with the spirit of non-objective feeling.
I recommend that you should work actively... and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.
I regard photography and film simply as new technical means which painters must absolutely make use of, just as from time out of mind they have made use of brush, charcoal and color. It is certain, however, that photography and film must become as evocative for the sensibility as pencil, charcoal and brush. (1927)
When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field, the critics and, along with them, the public sighed: 'Everything which we loved is lost. We are in a desert .... Before us is nothing but a black square on a white background!'