Page 27 - Studio International - March 1972

Suprematism To no 7 must be added the form 7A in which Further we see the development of the third
The domination of pure abstract and non- appears the union of two squares namely black circular Suprematist element in the direction
objective art and white. of appearance of a circular Suprematist element
Phases of its development together with a square.
no 7A
The appearance of Suprematism must be The next development appears in the different
reckoned to have occurred in 1913. The first forms of the elongated squares, and in no 8
Suprematist form was in the shape of a we see the appearance of the curved shape,
quadrilateral shape which in everyday language which later destroys itself and does not play
was named a square. See
any part and does not enter into
This was the chief element from which any compositional relationship. In no 9 we see
developed all Suprematist groups and the whole
a particular composition of the suprematist
system of Suprematist relationships and state of the square dividing into several forms, In the fourth phase of the development of the
elements. which later does not evolve. no 10 Suprematist element we see the following forms.
From the point of view of colour, the
Suprematist system is divided into three colour
phases-black, coloured: that is to say, the So, from the above illustrated forms of the
primary colours of the spectrum predominate, quadrilateral we see them developing
and white. principally into different forms and taking One part of the element begins to dissolve into
From the point of view of the mutual different states; that is to say, they express a sensation of total non-existence.
interrelationship of elements, Suprematism different sensations, primarily dynamic and And in the fifth phase there appears a white
can be divided into various categories The static, in different and complicated compositions Suprematist element which gives the sensation
Static, The Dynamic, and the Mystical etc. as in the following drawings : of absolute non-objectivity. 1-1
The basic shape of the square is divided in its
first evolution into two forms of a quadrilateral
and one form of a quadrilateral with the corners
moved round.

Basic squares

and in a further development out of the square a
circle is formed as the second basic

Notes on the manuscript
Suprematist element and the fourth position. So here we see several examples of dynamic by Simon Pugh
Suprematism-flat forms evolving from squares
BRIEF HISTORY
from 1913. But from 1915 we see the appearance Malevich travelled to Europe in 1927 with a
no 5 is the cruxiform shape (developing from the of Suprematist forms with a third dimension one-man exhibition which was hung first in
breaking of the square 1st Stage which reached their full development only in Warsaw in March and then in Berlin between
2nd Stage and becoming the third basic 1919. the end of March and June'. He returned to
element). These forms, as it will be subsequently Leningrad before the Berlin exhibition was over,
seen, are the basic forms of the development of and certain manuscripts and notes (including
the whole system or culture of Suprematism. In 1923 they evolved into an architectonic this manuscript) were left with Malevich's hosts
The development of Suprematist square no form as a new system or motif of architectural in Berlin, the von Riesen family. This manuscript
must be shown in every set of its variations in development. was purchased by Annely Juda Fine Art,
sequence. First the square divides into two eaual London, and is reproduced with the translation
squares no 6 coloured black and by courtesy of them.

in its second form no 7 there are two Thus we define static and dynamic NOTES ON THE MANUSCRIPT
Suprematism, through the operation of the (i) The square. In the manuscript, Malevich
squares, one coloured vermilion red, the other elements of the square giving both static and dates the beginning of Suprematism from about
black. In the third form there is an irregular dynamic sensations. But we discovered yet a 1913. Although suggestions of the first form, the
non-equiangular one third sensation-the magnetic gravitation of one square, can be detected in his designs for the
in lower part with a Suprematist element to another. Futurist opera Victory over the Sunt which was
dynamic inclination. performed in St Petersburg in December 1913,
Appearing here is the first indication of the his first Suprematist work was not shown until
dynamic inclination. The fourth view exactly two years later, in the exhibition `0.10.'
has an inclined square in a static In May 1916, in a letter to the symbolist
phase, with several elongated forms of the square Further we see the development of a second Benois, Malevich defined his square as follows :
giving dynamic sensation. The form of the basic cruxiform Suprematist element-a cosmic `You will never see sweet Psyche's smile on
elongated square resulted from a progression of and mystical sensation. my square.
the square which then divided into And it will never be a mattress for love-
making's.
At this stage Malevich saw his square as a
smaller and smaller surfaces nearly
revolutionary idea-later the square became an
`axiomatic point of departure'4, the basis from
always breaking into irregular parts.
101