The Suprematist does not observe and does not touch -- he feels.
We have seen how art ... at the turn of the century, divested itself of the ballast
of religious and political ideas which had been imposed upon it and came into its own --
attained, that is, the form suited to its intrinsic nature and became,
along with the two already mentioned, a third independent and equally valid "point of view". The public is still, indeed, as much convinced as ever that artist creates superfluous, impractical things. It never considers that these superfluous things endure and retain their vitality for thousands of years, whereas necessary, practical things survive only briefly. It does not dawn on the public that it fails to recognize the real, true value of things. This is also the reason for chronic failure of everything utilitarian. (A true, absolute order in human society could only be achieved if mankind were willing to base this order in lasting values.) Obviously, then, the artistic factor would have to be accepted in every respect as the decisive one.
It cannot be stressed too often that absolute, true values arise only from artistic,
subconscious, or superconscious creation.
Every social idea, however great and important it may be,
stems from the sensation of hunger; every art work,
regardless of how small and insignificant it may seem, originates
in pictorial or plastic feeling. It is high time for us to realize that
the problems in art lie far apart from those of the stomach or intellect.
The artist (the painter) is no longer bound to the canvas (the picture plane)
and can transfer his compositions from canvas to space.
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