
Suprematist Composition: White on White 1918 Kasimir Malevich Suprematism
A white form glides on a white expanse at the very threshold of visibility. The square is not exactly symmetrical and its lines imprecisely ruled having a breathing quality, generating a feeling not of boarders defining a shape but a shape without limits.
Colour is minimised although it is still present. You can see that there are two very different forms of white in the composition, and the surface is very worked. So, white is a way of taking away, of minimising colour itself and actually focusing on the painting. It signified the realm of higher feeling for Malevich and he saw it as a colour of infinity. Malevich breaks down and breaks with the use of perspective...that traditional tool to create the illusion of depth in the work of art although there is a kind of spiritual and spatial sense that is created by skewing the square form in the centre of the composition and the way its layered over the slightly warmer white ground. You can see the touch of the brush again and again and you can see the painting is a picture about the process of painting.
After the revolution, Russian intellectuals hoped that human reason and modern technology would engineer a perfect society. Malevich was fascinated by the airplane, an instrument of the human yearning to break the bounds of earth. He studied Ariel photography and wanted "White on White" to create a sense of floating and transcendence. He wanted to create an art free from materialism.










