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Olga Rozanova Suprematism, 1916

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Kazimir Malevich Dynamic Suprematism, c. 1915-1916

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a look into suprematism

in this chapter, multiple different forms and movements of art were mentioned but having never heard of suprematism, it caught my eye. this form extends into the photographic world but i wanted to bring focus to is origins and where inspiration is derived from. 

during the period of the first world war, russia was a hub for cutting-edge avant-garde art. constructivism was established as an influential avant-garde art movement, while natalia goncharova and mikhail larionov were embarking on their own experiments in art. at the same time, kazimir malevich was working on some of the most radical developments in abstract art of his time, and developing suprematism. he created the first works related to this movement in 1913. malevich was heavily influenced by cubo-futurism and avant-garde poets as well as going against the rules of reason. 

suprematism was one of the earliest and most radical developments in abstract art. the name is derived from malevich’s belief that this art form would be superior to all the art of the past. the movement expressed an interest in concepts related to non-euclidean geometry, which imagined forms moving through space. he believed that there were only delicate links between words or signs and the objects they signify, from this he saw the possibilities for a totally abstract art. there was a strong tone of absurdism that ran through the movement. one of malevich’s inspirations was zaum, or transrational poetry. 

this style was developed when russia was in a revolutionary state and was an effort to get rid of the old and create something new. it revitalized an interest in traditional russian folk art. 

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Paul Strand The Lathe, 1923

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Charles Sheeler Criss-Crossed Conveyors–Ford Plant, 1927

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Aleksandr Rodchenko Diver, 1934

9 1/2 × 7 1/4 inches. gelatin silver print

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Hannah Höch German Girl, 1930

8 × 4 ⅛ inches

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László Moholy-Nagy Double Portrait (László and Lucia), 1923

photogram

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Germaine Krull Pol Rob, 1929

7 5/8 × 5 3/4 inches. gelatin silver print.

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Paul Strand Blind, 1916

8 3/16 × 6 9/16 inches. photogravure

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Alvin Langdon Coburn Vortograph (Ezra Pound), 1917

8 × 6 1/16 inches. gelatin silver print.

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Alvin Langdon Coburn The Octopus, 1912

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Frank B. and Lillian M. Gilbreth Photograph of inefficient work operation, ca. 1935

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Anton Giulio Bragaglia Salutando [Waving], 1911

6 ⅞ × 9 inches. gelatin silver print

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Alfred Stieglitz The Steerage, 1907

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A style of photography and imagery based on an application of the principles of fine art, and, in particular, on ideas of beauty and nature deriving from the Picturesque

defining pictorialism 

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Julia Margaret Cameron Zoe, Maid of Athens, 1866