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Untitled, Kazimir Malevich SUPREMATISM AND CONSTRUCTIVISM
The year 1915 saw the presentation of Suprematism, when Malevich, its principal theoretician, showed the ensemble of works which expressed the visual system of Suprematism for the first time in the exhibition 0.10: Black Square, Black Circle and Black Cross.
In addition, in 1914 Tatlin first exhibited his counter-reliefs which led onto Constructivism. He was immediately joined by Rodchenko, who became Malevich's leading rival. Some years later, in 1919, in his homage to the Revolution, Tatlin exhibited the project for the Monument to the Third International. This took the form of a large model of a utopian building which was never constructed and which is here presented in a virtual reconstruction.
Suprematism, a movement dominated by the concept of the absolute ideal, rejected the object and promoted the reduction of form to zero. Constructivism, for its part, defended an equally abstract language but one expressed through a search for the constructive, architectural principle, into the limits of the flat surface of the painting.
These two new trends in abstract art were immediately taken up by numerous young artists such as Suetin, Chashnik, Popova and Kliun, who aimed to find a meeting point between the two. El Lissitzky's Proun series are the best example of this synthesis. They unified the concept of the flat, Suprematist surface with the laws of Constructivist edification in order to propose a formula that developed Suprematism in space.

Kazimir Malevich
Untitled, c. 1916
Oil on canvas. 53.5 x 53 cm
Peggy Guggenheim Collection, Venice
(Solomon R. Guggenheim Foundation, New York)
Black Square, Kazimir Malevich Kazimir Malevich
Black Square, c. 1923
Oil on canvas. 106 x 106 cm
State Russian Museum, St. Petersburg
Black Circle, Kazimir Malevich Kazimir Malevich
Black Circle, c. 1923
Oil on canvas. 105,5 x 106 cm
State Russian Museum, St. Petersburg
Black Cross, Kazimir Malevich Kazimir Malevich
Black Cross, c. 1923
Oil on canvas. 106 x 106.5 cm
State Russian Museum, St. Petersburg
Proun 1C, El Lissitzky El Lissitzky
Proun 1C, c. 1919
Oil on panel. 68 x 68 cm
Museo Thyssen-Bornemisza, Madrid
Hanging Spatial Construction no. 9 (Circle in a Circle), Alexander Rodchenko Alexander Rodchenko
Hanging Spatial Construction no. 9 (Circle in a Circle), 1920-1921/1993
Plywood of peach-tree. 90 x 80 x 85 cm
Galerie Gmurzynska Zug