From "Suprematism"
Under Suprematism I understand the supremacy of pure feeling in creative art.
To the Suprematist the visual phenomena of the objective world are, in themselves,
meaningless; the significant thing is feeling, as such,
quite apart from the environment in which it is called forth.
The so-called "materialization" of a feeling in the conscious mind really means
a materialization of the reflection of that feeling through the medium
of some realistic conception. Such a realistic conception is without value
in the Suprematist art...And not only in Suprematist art but in art generally,
because the enduring, true value of a work of art (to whatever school it may belong)
resides solely in the feeling expressed.
An objective representation, having objectivity as its aim,
is something which, as such, has nothing to do with art,
and yet the use of objective forms in an art work does not preclude the possibility
of its being of high artistic value. Hence, to the Suprematist,
the appropriate means of representation is always the one which gives fullest
possible expression to feeling as such and which ignores the familiar appearance of objects.
Objectivity, in itself, is meaningless to him;
the concepts of the conscious mind are worthless.
Feeling is a determining factor...
and thus art arrives at non-objective representation--at Suprematism.
It reaches a "desert" in which nothing can be perceived but feeling.
The pure (unapplied) art of Suprematism will build up a new world-
the world of feeling...in my desperate attempt to free art from the ballast
of objectivity, I took refuge in the square form: a picture which consisted
of nothing more than a black square on a white field.
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!"
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