A painted surface is a real, living form.
Only when the habit of one's consciousness to see in paintings bits of nature, madonnas and shameless nudes... has disappeared, shall we see a pure painting composition.
In art there is a need for truth, not sincerity.
Aestheticism is the garbage of intuitive feeling.
The square = feeling, the white field = the void beyond this feeling.
Man, as a form, bears within him the eternal principle of being, and by economic movement along his endless path his form is also transformed, just as everything that lives in nature was transformed in him.
I have established the semaphore of Suprematism. I have beaten the lining of the colored sky, torn it away and in the sack that formed itself, I have put color and knotted it. Swim! The free white sea, infinity, lies before you.
A face painted in a picture gives a pitiful parody of life. . . but a painted surface lives.
Painters were also attorneys, happy storytellers of anecdote, psychologists, botanists, zoologists, archaeologists, engineers, but there were no creative painters.
I tell you, you will not see the new beauty and the truth, until you make up your minds to spit.
I ripped through the blue shade of the constraints of color.
The appearances of natural objects are in themselves meaningless; the essential thing is feeling - in itself and completely independent of the context in which it has been evoked.
By suprematism I mean the supremacy of pure feeling in creative art.
In 1913, trying desperately to liberate art from the ballast of the representational world, I sought refuge in the form of the square.
Being a painter, I ought to say why in pictures people's faces are painted green and red.
Shouldn't it give us pause that the oldest works of art are as impressive today in their beauty and spontaneity as they were many thousands of years ago?
The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.
Everywhere there is craft and technique; everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of its awkwardness it obstructs that inner element...
I perceived that the 'thing' and the 'idea' were taken to be equivalents of feeling, and understood the lie of the world of will and idea. Is the milk bottle the symbol of milk?
I have broken the blue boundary of color limits, come out into the white; beside me comrade-pilots swim in this infinity.
Painting is the aesthetic side of the object but it has never been original, has never been its own goal.
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.
Color is the essence of painting, which the subject always killed.
Everything which we loved is lost. We are in a desert .... Before us is nothing but a black square on a white background!
Man's skull represents the same infinity for the movement of conceptions. It is equal to the universe, for in it is contained all that sees in it.
With the most primitive means the artist creates something which the most ingenious and efficient technology will never be able to create.
Only dull and impotent artists screen their work with sincerity. In art there is need for truth, not sincerity.
I realized that the "thing" and the "concept" were substituted for feeling and understood the falsity of the world of will and idea
There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement.
I recommend that you should work actively... and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.