Kazimir Malevich

Kazimir Severinovich Malevich,

a pioneering figure in modern art, emerged as a leading force in the early 20th century. Born in Ukraine in 1879, Malevich challenged traditional artistic conventions with his revolutionary movement, Suprematism. His iconic work, “Suprematist Composition: White on White,” epitomizes his radical departure from representational art, showcasing a white square on a white background as a symbol of pure abstraction.

Malevich’s philosophy emphasized the supremacy of pure feeling in art, advocating for the liberation of artistic expression from the constraints of reality. Through his exploration of geometric abstraction and basic forms, such as squares and circles, Malevich sought to unlock the expressive potential of shape and color.

His influence extended far beyond his own paintings, inspiring artists across Europe and the United States to embrace abstract art and explore new avenues of creative expression. Today, Malevich remains a seminal figure in the history of art, his legacy enduring as a testament to the transformative power of artistic innovation and creative freedom.

As mandates of some owners of his works, we have these to offer:

“Suprematism of the Spirit” (1919–20) belongs to Malevich’s Suprematist period, when he explored geometric abstraction and the spiritual possibilities of art.

The owner of the canvas holds a complete, 31-page copy of UNOVIS Almanac No. 1 (Vitebsk, 1920). It reproduces a composition the owner considers closely related to this canvas. A smaller Suprematism of the Spirit is documented in the Stedelijk Museum Collection, Amsterdam. The relationship between the almanac image, the Amsterdam panel, and this canvas is discussed in the work’s dossier.

Four pages from the almanac are shown below, including one that reproduces Malevich’s “Black Square”.

To provide a bit of context: the UNOVIS collective was founded on February 14, 1920, quickly becoming a key center in the global avant-garde movement. The Vitebsk People’s Art School flourished as a creative hotspot following Malevich’s appointment as an instructor in 1919. Beyond publications, the group engaged in collective art projects, multi-media experiments, and even a Suprematist ballet.

The UNOVIS almanac reproduces a composition that the owner considers closely related to this canvas. A smaller Suprematism of the Spirit (1919), oil on panel, 55.6 × 38.7 cm, is documented in the Stedelijk Museum Collection in Amsterdam. The proposed relationship between the almanac image, the Amsterdam panel, and this canvas is detailed in the work’s dossier.

In case of serious interest, please contact us.

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The post-Suprematism Malevich was also interested in folk art and Russian traditions. Think vibrantly colored scenes and peasant motifs. It all played a role in his artistic journey, even if it wasn’t the geometric abstraction he’d become famous for.

Here are some examples of what we also have for sale.

In case of interest to purchase, please contact us.