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Black SquareMalevich and the Origin of Suprematism$
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Aleksandra Shatskikh

Print publication date: 2012

Print ISBN-13: 9780300140897

Published to Yale Scholarship Online: October 2013

DOI: 10.12987/yale/9780300140897.001.0001

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PRINTED FROM YALE SCHOLARSHIP ONLINE (www.yale.universitypressscholarship.com). (c) Copyright Yale University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in YSO for personal use.date: 17 September 2021

The End of Painting: From White Suprematism to “Blank Canvas”

The End of Painting: From White Suprematism to “Blank Canvas”

Chapter:
(p.251) Chapter 5 The End of Painting: From White Suprematism to “Blank Canvas”
Source:
Black Square
Author(s):

Aleksandra Shatskikh

Publisher:
Yale University Press
DOI:10.12987/yale/9780300140897.003.0005

This chapter examines the transition of Kazimir Malevich's paintings from Suprematism to “blank canvass,” It discusses the gradual transformation of Malevich's attitude toward color as Suprematism's dominant element during the spring of 1916 to the fall of 1917 and describes some of his color-paintings during this period. The chapter also discusses how the “white abyss” background became the manifestation of space on his Suprematist canvases and considers the so-called Suprematist process of dissolution.

Keywords:   Kazimir Malevich, Suprematism, color, color-paintings, dissolution, white abyss background

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