SUPREMATISM OF KAZIMIR MALEVICHAS A NEW STAGE IN THE DEVELOPMENT OF FINE ART

Abstract

This article provides an in-depth analysis of Suprematism as a fundamentally new stage in the development of visual arts at the beginning of the 20th century, shaped by Kazimir Malevich. It explores the historical and cultural conditions that led to the emergence of this movement within the context of a crisis in traditional art and the active development of avant-garde trends like Cubism and Futurism, which laid the groundwork for the rise of non-objective painting. Special attention is given to the theoretical principles of Suprematism, which emphasize the dominance of «pure feeling» over the depiction of real-world objects. Key principles of the movement are analyzed, including the use of simple geometric shapes (such as squares, circles, and crosses), a limited color palette, and new compositional solutions that disrupt traditional notions of space and perspective. The work thoroughly examines the iconic piece «Black Square» as a manifesto of Suprematism and a symbol of a radical break with objectivity in art. Additionally, the evolution of Malevich’s creativity within the Suprematist period is highlighted, particularly his transition from the «black» stage to the «color» and «white» stages, reflecting a deepening of the idea of non-objectivity and a quest for absolute artistic form. The influence of Suprematism on the further development of global art is also outlined, notably regarding the establishment of Abstract Art, Minimalism, and Conceptual Art.