Казимир Северинович Малевич: Цитаты на английском языке

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Kazimir Malevich

Quote of Malevich, 1924, in: 'Khudozhniki na dispute ob AKhRR', in 'Zhizn,' iskusstva 6 (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 27
1921 - 1930

“I have not invented anything, only the night I have sensed, and in it the new which I called Suprematism.”

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Kazimir Malevich

Quoted in Dokumente zum Verständnis der modernen Malerei, Walter Hess, (Hamburg, 1956), p. 98
1921 - 1930

“The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.”

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Kazimir Malevich

Quote in 'From Cubism and Futurism to Suprematism: The New Realism in Painting', Kazimir Malevich, November 1916
1910 - 1920

“There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement. This special movement was discovered by the futurists as a new and hitherto unknown phenomenon in art, a phenomenon which some Futurists were delighted to reflect.”

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Kazimir Malevich

Quote c. 1915, in: 'Cubofuturism', Malevich, in his Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59
1910 - 1920

“.. [that] the overturning of the old world of arts will be etched across your 'palms”

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Kazimir Malevich

recto
admonition from the cover of Malevich's 'novykh sistemakh v iskusstve' (Vitebsk: Unovis, 1919); the cover is reproduced in Malevich: Suprematism and Revolution in Russian Art, Larissa A. Zhadova, (trans. Alexander Lieven); London: Thames and Hudson, 1982
the notice on the verso reads: 'Work and edition by the workshop [artef] of artistic labor at the Vitebsk Svomas'
1910 - 1920

“Papuans bored, but
Cottage second-class
Ticket. Park. Arch.”

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Kazimir Malevich

Quote of Kazimir Malevich, Jan. 1916, from his letter to Mikhail Matiushin; private archive, Frankfurt (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 26
Malevich' example of the new poetic structures (the 3 lines loosely match his painting 'Stantsiia bez ostanovki Kuntsevo' (Through Station: Kuntsevo), 1913)
1910 - 1920

“I too was filled with a sort of shyness and fear, as I was called to leave 'the world of will and idea' in which I had lived and created, and in whose reality I had believed. But the happy liberating touch of non-objectivity drew me out into the 'desert' where only feeling is real.... and so feeling became the content of my life. It was no 'empty square' I had exhibited but the feeling of non-objectivity. I perceived that the 'thing' and the 'idea' were taken to be equivalents of feeling, and understood the lie of the world of will and idea. Is the milk bottle the symbol of milk? Suprematism is the rediscovery of that pure art which in the course of time, and by an accretion of 'things', had been lost to sight.”

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Kazimir Malevich

As quoted in Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 453
1921 - 1930

“Man's skull represents the same infinity for the movement of conceptions. It is equal to the universe, for in it is contained all that sees in it. Likewise the sun and whole starry sky of comets and the sun pass in it and shine and move as in nature... Is not the whole universe that strange skull in which meteors, suns, comets and planets rush endlessly?”

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Kazimir Malevich

1921 - 1930
Источник: 'God is not cast down', Malevich, 1922; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 65

“Balla, he advanced Dynamic Futurism.... drawing closer, not to the human body but to the machine, as contemporary muscles of a man of today... The actual structure of each of Balla's works tells us that the dynamic power sensed by the artist is incomparable greater than the actual bodies of the machines, and the content of each machine is only a small part of this dynamic power, since each machine is a mere unit from the sum total of the forces of contemporary life.”

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Kazimir Malevich

Quote, c. 1915 in: 'Cubofuturism', Malevich, in Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, pp. 59-60
1910 - 1920

“Only when the habit of one's consciousness to see in paintings bits of nature, Madonna's and shameless nudes.... has disappeared, shall we see a pure painting composition. I have transformed myself into the nullity of forms and pulled myself out of the circle of things, out of the circle-horizon in which the artist and forms of nature are locked.”

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Kazimir Malevich

as quoted in: Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 178
1910 - 1920

“The principal element of Suprematism in painting, as in architecture, is its liberation from all social or materialist tendencies. Through Suprematism, art comes into its pure and unpolluted form. It has acknowledged the decisive fact of the nonobjective character of sensibility. It is no longer concerned with illusion.”

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Kazimir Malevich

As quoted in Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 194
1921 - 1930

“By Suprematism, I mean the supremacy of pure feeling in the pictorial arts. From the Suprematist point of view, the appearances of natural objects are in themselves meaningless; the essential thing is feeling – in itself and completely independent of the context in which it has been evoked. Academic naturalism, the naturalism of the impressionists, of Cézannism, of Cubism, etc., are all so to speak nothing but dialectic methods, which in themselves in no way determine the true value of the work of art.”

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Kazimir Malevich

Quote of Malevich, 1927 in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451
Malevich valued Cezanne's art as a temporarily necessary but still 'provincial art' in the long developing line of modern art
1921 - 1930

“Tatlin does not transcend the confines of Cubism.”

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Kazimir Malevich

Quote c. 1928, in 'The Constructive Painting of Russian Artists and Constructivism', in K. S. Malevich, Essays on Art, ed. Troels Andersen, (transl. Xenia Glowacki-Prus & Arnold McMillin), London: Rapp & Whiting, 1969, vol. 2, pp. 74-84
Malevich asked his students and followers to repeat this short sentence after him, during his teachings
1921 - 1930

“We have rejected reason because we have found another reason that could be called trans-rational, which has its own law, construction and sense... This reason has found a way-Cubism-of expressing the object.”

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Kazimir Malevich

Quote from Malevich's letter to the composer Matiushin, June 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 266
1910 - 1920

“I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting – to non-objective creation.”

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Kazimir Malevich

Quote of Malevich, November 1916, in: 'From Cubism and Futurism to Suprematism: The New Realism in Painting'
1910 - 1920

“.. the art of futurism…. achieved great momentum in the first quarter of the Twentieth Century and remains a basic stimulus in the following forms of new art: Suprematism, Simultaneism, Purism, Odorism, Pankinetism, Tactilism, Haptism, Expressionism and Légerísm [referring to Fernand Léger in the last… ism, mentioned]”

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Kazimir Malevich

1910 - 1920
Источник: 'Cubofuturism', Malevich, in Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59

“.. [to gather] under a new banner.... [that the poets of yesterday's Futurism ] change the means of battle with thought, content, and logic.... advance Alogism after Futurism.”

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Kazimir Malevich

Quote of Malevich, Nov. 1915; as cited by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 26
1910 - 1920

“It is the experience of the speed of a plane, which was looking for an expression, a form and this caused the plane to come into existence. The plane was not built to take letters from Berlin to Moscow, but to give expression to the irresistible urge to create a form for the experience of speed.”

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Kazimir Malevich

As quoted in: Richtingen in de hedendaagsche schilderkunst (Trends in the Present Day Art of Painting), Jacob Bendien - W.L. & J Brusse, Rotterdam,1936, p. 100 (transl. Anne Porcelijn)
1910 - 1920

“I have broken the blue boundary of color limits, come out into the white, besides me comrade-pilots swim in this infinity. I have established the semaphore of Suprematism. I have beaten the lining of the colored sky, torn it away and in the sack that formed itself, I have put color and knotted it. Swim! The free white sea lies before you.”

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Kazimir Malevich

In the 'Catalogue 10th State Exhibition', Kasimir Malevich, Moscow, 1919; as quoted in Autocritique, – essays on art and anti-art 1963 – 1987, Barbara Rose, Weidenfeld & Nicolson, New York, 1988, p. 71
1910 - 1920

“Everywhere there is craft and technique, everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of it awkwardness it obstructs that inner element… All craft, technique, and artistry, like anything beautiful, results in futility and vulgarity.”

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Kazimir Malevich

critical quote on Constructivism artists
1910 - 1920
Источник: 'On poetry'; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 65