A.P.Polo - Supremus

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A P POLO

# 238290

A.P.POLO - SUPREMUS

Name: A.P.Polo - Supremus by A P Polo Wall Art
Brand: Pictorem
SKU: 238290
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A.P.Polo - "Supremus" - Hamburg (Germany). Supremus (1915–1916) was a group of Russian avant-garde artists led by the "father" of Suprematism, Kazi...[+]

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62 x 46 cm

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30 x 23 inches

77 x 59 cm

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36 x 27 inches

92 x 69 cm

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42 x 32 inches

108 x 82 cm

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48 x 36 inches

123 x 92 cm

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55 x 41 inches

141 x 105 cm

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60 x 45 inches

154 x 115 cm

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20 x 15 inches

51 x 38 cm

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24 x 18 inches

62 x 46 cm

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30 x 23 inches

77 x 59 cm

3/16 with 4 metal stand off

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36 x 27 inches

92 x 69 cm

3/16 with 4 metal stand off

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42 x 32 inches

108 x 82 cm

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48 x 36 inches

123 x 92 cm

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55 x 41 inches

141 x 105 cm

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40 x 28" Framed Print

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A.P.Polo - Supremus A P Polo Puzzle printing

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ABOUT THIS ARTWORK: A.P.POLO - SUPREMUS
A.P.Polo - "Supremus" - Hamburg (Germany). Supremus (1915–1916) was a group of Russian avant-garde artists led by the "father" of Suprematism, Kazimir Malevich. It has been described as the first attempt to found the Russian avant-garde movement as an artistic entity within its own historical development. Supremus conceptualized the artist as one who has freed himself from everything that pre-decided the ideal structure of life and art. Malevich projected the Supremus vision onto Cubism, which he believed deconstructs things and completely changes the reference points of art. To support the movement, Malevich established the journal Supremus, which received contributions from artists and philosophers. The publication, however, never took off and its first issue was never distributed due to the Russian Revolution. Suprematism (from the Old Latin supremus, "the highest") is a style of Modernism in the visual arts, related to Futurism and Constructivism. It originated in Russia and was valid from 1913 until the beginning of the 1930s. The first consistently non-representational art movement was developed by the Russian artist Kazimir Malevich, who saw it as prioritising pure perception over representational nature. Suprematism was developed by Malevich from the ideas of Futurism following his neo-primitivist and cubo-futurist phase in 1912/13. Suprematism influenced De Stijl and the Bauhaus, particularly through El Lissitzky. It was the first consistently non-representational art movement. Non-representational art differs from abstract art in that its forms are not abstractions (materialisations/simplifications) of visible objects. Suprematism is a constructive art movement freed from references to objects; it places the reduction to the simplest geometric forms in the service of visualising the 'highest' principles of human cognition. The main works of Suprematism include Malevich's paintings Black Square on a White Ground (1915), Red Square (1915) and White Square on a White Ground (1919). The art exhibition 0.10 took place in St Petersburg in 1915/16. Parallel to the historical upheavals in Russia from 1905 to 1920, Russian artists were looking for new ways to give their image of the world a new expression. A wide variety of art movements emerged in rapid succession, taking up and further developing the art movements of Western Europe. An art exhibition initiated by the Russian magazine Das Goldene Vlies in 1908 with works by the most important contemporary Western European artists was particularly influential. Among those represented were Henri Matisse, Pierre-Auguste Renoir, Georges Braque, Paul Cézanne, Vincent van Gogh, Kees van Dongen, Alfred Sisley and Pierre Bonnard. This was followed in 1911 by an exhibition of the "Jack of Diamonds" group, in which a large number of artists from the Russian avant-garde participated and which established the development of Russian painting and sculpture towards abstraction. The exhibition "0.10", which followed in 1915 and in which Suprematist paintings were exhibited for the first time, marked the breakthrough to non-objective art. In addition to Malevich, the exhibitors included Vladimir Tatlin, Nadezhda Udaltsova, Lyubov Popova and Ivan Puni. Just how inspiring these encounters were for the development of modern Russian art can be seen in the artistic development of Malevich, who, through the influence of the French Impressionists, Futurists and Cubists, found his way to Cubo-Futurism via a post-impressionist and neo-primitivist style and then developed Suprematism. The initial work of Suprematism was the painting Black Square by Malevich, a purely black oil painting on a white background. It was first exhibited with 38 other Suprematist paintings by Malevich at the 0.10 exhibition in Petrograd in 1915. In the catalogue it was simply described as a "square". Malevich himself called it the "unframed icon of my time". With this designation, he took up a discussion that had been going on in Russia since the mid-19th century as to whether Russian painting should orientate itself towards Western art or develop its own visual language rooted in Russian tradition. The icon was the symbol of Russian tradition. Just as Russian peasants place their icons in the eastern corner of a room, Malevich also hung his black square in the eastern corner of the 0.10 exhibition. At the same time, Malevich understood the black square as the maximum concentration of colour mass; for him, it was the symbol of "geometric economy". He himself wrote in his Bauhaus book The Non-Objective World, published in 1927: "By Suprematism I mean the supremacy of pure feeling in the visual arts. When in 1913, in my desperate endeavour to free art from the ballast of the representational, I fled to the form of the square and exhibited a picture that was nothing but a black square on a white field, critics sighed and society sighed with them: everything we loved has been lost: We are in a desert. Before us stands a black square on a white background! The black square on the white field was the first expression of non-representational feeling: the square = the feeling, the white field = the nothingness outside this feeling." The reaction to The Black Square was clear: an affront an affront to the academic and realistic style of painting, it was It was labelled the "dead square", the "personified nothing". The art historian Alexander Benois described it in the Petrograd magazine Die Sprache as "the most, the most sophisticated trick in the fairground stall of the of the very latest art". This criticism was echoed by the Russian writer Dmitri Merezhkovsky, who spoke of the "invasion of bullies in culture". Red Square followed in 1915: painterly realism of a peasant woman in two dimensions, a square painted in bright red on a beige background. Like Black Square on a White Background, it is now in the State Russian Museum in St Petersburg. For Malevich, it was "the signal of the revolution" and was followed by further colour paintings followed, although these became increasingly multipartite. In 1919, Malevich painted The White Square, which summarised his painting experiments with Suprematism for the time being. For Malevich, the white square was the sign of the "self-recognition of a of a purely utilitarian perfection of the all-man" and the expression of pure non-objectivity. Malevich was looking for an alternative term for an ideal of art that did not objectify and that corresponded to the concept of "God" in religion, the principle of "representational-technical perfection" in science or "beauty" in academic art. These ideals generate goals and methods. Achieving them triggers a confrontation between man and his environment. with his environment. However, due to the irreconcilable differences between the three religion, art and science, man begins to understand his environment environment differently, i.e. to classify it according to the the direction taken, to objectify it. However, since the same object is described by the three can be described in three different ways by the three points of view Malevich proved that this object has its own basis of being, independent of independent of man, whose essence has not yet been fully grasped by man. has not yet been fully grasped by man. The highest principle that Malevich formulated is therefore the one that all three schools of thought have in common, what all three schools of thought have in common. Each of their ideals is non-objective in absolute terms, so that their common denominator, non-objectivity, is the highest for Malevich - Suprematism. Suprematism. He derived the term (via the intermediary role played by the French and Polish languages) from the Latin word suprematia (superiority, dominion or supremacy). Malevich did not paint expressively like Wassily Kandinsky, but constructed his objective squares and rectangles. All the forms used are derived from the square. An example of of his more formal paintings is Dynamic Suprematism No. 57, which is in the Museum Ludwig in Cologne. The non-representational freedom he strived for was not intended to be chaotic, like that of the Futurists, but followed a formal-energetic economy that produced organised structures. His pictures are models of a reality that, although it cannot be grasped by conventional means conventional means, nevertheless exists. However, the aim is not only to create new possibilities of cognition are to be created. Since the old formal languages and concepts determined the old world view and thus also the actions of mankind, the new art is just as capable of art is just as capable of renewing human society by creating a new world view. to renew human society. Suprematism, which founded abstract art, influenced Ivan Puni, Lyubov Popova and Alexander Mikhailovich Rodchenko in particular between 1916 and 1920/21, who, however, continued to develop stylistically after 1921. Popova and Rodchenko went on to become important representatives of Constructivism. The most important artist who passed on the art form developed by Malevich and the associated ideas abroad was the painter El Lissitzky. Between 1919 and 1923 in particular, Lissitzky worked intensively with Suprematism. He was deeply impressed by Malevich's Suprematist works; he saw them as the theoretical and visual equivalent of the social upheavals - Suprematism with its radicalism was for him the creative of a new form of society. Lissitzky transferred Malevich's approach to his Proun constructions, which he himself described as a "transition from painting to architecture". The Proun constructions were, however, at the same time a sign of artistic separation from Suprematism. The "Black Square" by Malevich was the end point of a consistent thought process for him, which, however, had to be followed by new constructive work. This constructions, whereby the designation "Proun" (=Pro Unowis) (=Pro Unowis) symbolised the suprematist origin. Lissitzky set up exhibition spaces for non-objective art in Berlin, Hanover and Dresden in 1923. During this trip to the West, El Lissitzky was in close contact with Theo van Doesburg, thus building a bridge to De Stijl and the Bauhaus. Like Malevich, El Lissitzky also contributed to the theoretical underpinning of this art movement: "Suprematism led painting from the state of the ancient named representational number to the state of the modern abstract number, which is pure from the representational, which is a number that by its nature occupies an independent place alongside objects."

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A.P.POLO - SUPREMUS

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Acrylic Print

Brushed Metal Print / Smooth White Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

Wood Print

Roll Print

Mural Print

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Standard size framed print

Sublimation High-Gloss Jigsaw Puzzle Print

Wall Clock

Product details

Digital Download

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A.P.POLO - SUPREMUS

Giclée Canvas Print

Acrylic Print

Brushed Metal Print / Smooth White Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

Wood Print

Roll Print

Mural Print

Framed Print

Standard size framed print

Sublimation High-Gloss Jigsaw Puzzle Print

Wall Clock

Product details

Digital Download

Print One Plant One

Proudly Canadian

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