Seite 218 - ArtBook

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Squares of Glass
KazimirMalevich painted
(1932) at the age of 53, only nine years after being
branded a counterrevolutionary guilty of committing ‘artistic debauchery’ and only
two years before his death in 1934. Like somany artists of the avant-garde,Malevich’s
support for the ideals of the October Revolution eventually put himat odds with
the Stalinists. But despite thewitch-hunt undertaken by the totalitarian regime,
he did not abandon his craft.Having laid the foundations of Suprematismwith
pivotal works such as
Black Square
(1915) and
White onWhite
(1918), hemanaged to sub-
limate his own convictions and ideals in a less abstracted fashionwhile seemingly
depicting a version of the recognisableworld (as witnessed in
). Pure Socialist
Realism it is not, but we can still recognise in it the simplicity of a child’s sketch or
painting of a house. Itmay even remind us of our own infant years, and the images
we frequentlymade of an archetypal house intowhichwemight place our immediate
and extended family.
Although somewhat stocky in format,Malevich’s painting follows the portrait typol-
ogy.This is unlikemany of his Suprematist works that, by embracing the square,
accentuate neither the vertical nor the horizontal – thereby deliberately avoiding
the archetypal classification of portrait and landscape, breakingwith tradition and
taking abstraction to its limits.
is also at odds with a typical child’s draw-
ing, since although themore adventurousmight combine both genres in one single
KasimirMalewitsch /KasimirMalevich 
RotesHaus / RedHouse