Kazimir Malevich Quotes

• With the most primitive means the artist creates something which the most ingenious and efficient technology will never be able to create.

  Kazimir Malevich

  Art, Creativity, Mean

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• The square = feeling, the white field = the void beyond this feeling.

  Kazimir Malevich

  Squares, White, Feelings

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• Only dull and impotent artists screen their work with sincerity. In art there is need for truth, not sincerity.

  Kazimir Malevich

  Art, Needs, Dull

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• El color es la esencia de la pintura, que el sujeto siempre mató.

  Kazimir Malevich

  Essence, Color, Painting

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• 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.

  Kazimir Malevich

  Independent, Feelings, Essentials

  'Artists on Art; from the 14th - 20th centuries', ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451, 1927.

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• By suprematism I mean the supremacy of pure feeling in creative art.

  Kazimir Malevich

  Art, Mean, Creative

  "The Non-Objective World: The Manifesto of Suprematism". Book by Kasimir Malevich, translated by Howard Dearstyne. Part II: "Suprematism", p. 67, 2003.

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• In art there is a need for truth, not sincerity.

  Kazimir Malevich

  Art, Needs, Sincerity

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• 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.

  Kazimir Malevich

  Men, Skulls, Infinity

  "God is Not Cast Down". Book by Kazimir Malevich, 1922.

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• When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field, the critics and, along with them, the public sighed: 'Everything which we loved is lost. We are in a desert .... Before us is nothing but a black square on a white background!'

  Kazimir Malevich

  Squares, White, Black

  "The Non-Objective World: The Manifesto of Suprematism". Book by Kasimir Malevich, Courier Corporation, p. 68, 2003.

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• He roto la frontera azul de los límites de color, he salido al blanco; a mi lado nadan camaradas pilotos en este infinito.

  Kazimir Malevich

  Color, White, Blue

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• El cuadrado no es una forma subconsciente. Es la creación de la razón intuitiva. El rostro del nuevo arte. El cuadrado es un infante vivo y regio. El primer paso de la creación pura en el arte.

  Kazimir Malevich

  Art, Squares, Faces

  "From Cubism and Futurism to Suprematism: The New Realism in Painting". Essay by Kazimir Malevich, November 1915.

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• Hay movimiento y movimiento. Hay movimientos de pequeña tensión y movimientos de gran tensión y también hay un movimiento que nuestros ojos no pueden captar aunque se pueda sentir. En arte, este estado se denomina movimiento dinámico.

  Kazimir Malevich

  Art, Eye, Movement

  'Cubofuturism', Malevich, in Essays on Art, op. cit., Vol 2.; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59, 1913.

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• Para el suprematista, los fenómenos visuales del mundo objetivo carecen de sentido en sí mismos; lo significativo es el sentimiento, como tal, al margen del entorno en el que se manifiesta.

  Kazimir Malevich

  Significant Things, Feelings, World

  "The Non-Objective World: Suprematism" by Kazimir Malevich, 1927.

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• A face painted in a picture gives a pitiful parody of life. . . but a painted surface lives.

  Kazimir Malevich

  Giving, Faces, Parody

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• Toda forma real es un mundo. Y cualquier superficie de plástico está más viva que un rostro del que sobresalen un par de ojos y una sonrisa.

  Kazimir Malevich

  Real, Eye, Alive

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• Only when the habit of one's consciousness to see in paintings bits of nature, madonnas and shameless nudes... has disappeared, shall we see a pure painting composition.

  Kazimir Malevich

  Painting, Consciousness, Shameless

  1915 Manifesto, quoted in C Gray The Russian Experiment in Art (rev edn1986).

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• 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.

  Kazimir Malevich

  Zero, Painting, Creation

  "From Cubism and Futurism to Suprematism: The New Realism in Painting". Book by Kazimir Malevich, November 1916.

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• Shouldn't it give us pause that the oldest works of art are as impressive today in their beauty and spontaneity as they were many thousands of years ago?

  Kazimir Malevich

  Arte, Años, Dar

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• 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?

  Kazimir Malevich

  Lying, Taken, Ideas

  "Artists on Art: From the 14th to the 20th Centuries". Book by Robert Goldwater, p. 453, 1972.

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• 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, infinity, lies before you.

  Kazimir Malevich

  Lying, Color, Sea

  "Catalogue 10th State Exhibition", Moscow, 1919.

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• Painting is the aesthetic side of the object but it has never been original, has never been its own goal.

  Kazimir Malevich

  Goal, Sides, Painting

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• When, in 1913, in a desperate attempt to rid art of the ballast of objectivity, I took refuge in the form of the square... the critics... sighed, "All that we loved has been lost. We are in a desert"... But the desert is filled with the spirit of non-objective feeling.

  Kazimir Malevich

  Art, Squares, Objectivity

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• Everywhere there is craft and technique; everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of its awkwardness it obstructs that inner element.

  Kazimir Malevich

  Art, Technique, Elements

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• I regard photography and film simply as new technical means which painters must absolutely make use of, just as from time out of mind they have made use of brush, charcoal and color. It is certain, however, that photography and film must become as evocative for the sensibility as pencil, charcoal and brush. (1927)

  Kazimir Malevich

  Photography, Mean, Color

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• Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.

  Kazimir Malevich

  Creative, Zoologist, Anecdotes

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