This meant that this art movement would use less of what the natural world offered and instead concentrate on pure elementary forms that worked on a limited range of colors. The following text will highlight and evaluate this art movement by comparing two pieces of the period, Beat the Whites with the Red Wedge by Lazar Markovich and Kazimir Malevich’s White on White art piece. The evaluation will focus on Suprematism’s characteristics, background and origin, the techniques applied, the concepts underlying and the evolution plus its development.
Malevich was a Russian painter and theoretician in art as well, and he is the recognized founder of Suprematist art movement. One of his most popular works is the White on White painting which is Oil on Canvas square piece measuring 79.4 centimeters. It dates back to the year 19355, and remains an outstanding piece that pioneered this art movement. In description, the piece is a simple square frame that has a smaller inner square tilted slightly clockwise so that it seems to be standing on its bottom-right edge. The inner white square, placed off-center in that it leans to the right more than it does to the left rests on a bigger outer square that seems warmer. Both squares have rich texture on their surfaces. The resulting effect is creation of an illusion of volume and depth by the use of a single color.
Born Lazar Markovich Lissitzky, this man was born in Smolensk, Russia in eighteen-ninety and died in Moscow in nineteen-forty one. He is famous as an influential twentieth century typographer, designer, and painter. According to Sarabianov (n.p.), he met Malevich at Vitebsk in 1919 at the Revolutionary People’s Art School where he was teaching graphics and architecture. Their meeting influenced him to quit figurative art and join Malevich’s Suprematism movement, from which