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On view  |  Painting and Sculpture I, Gallery 14, Floor 5

Kazimir Malevich. Suprematist Composition: White on White. 1918

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Kazimir Malevich (Russian, born Ukraine. 1878–1935)

Suprematist Composition: White on White

Oil on canvas
31 1/4 x 31 1/4" (79.4 x 79.4 cm)
Credit Line:
1935 Acquisition confirmed in 1999 by agreement with the Estate of Kazimir Malevich and made possible with funds from the Mrs. John Hay Whitney Bequest (by exchange)
MoMA Number:
Audio Program excerpt

MoMA Audio: Collection

, 2008, 512

Curator, Leah Dickerman: Kazimir Malevich's Suprematist Composition: White on White was painted the year after the Russian Revolution of 1917.

Malevich was one of the first artists to create works that stepped away completely from trying to make images of the visible world. And in this work you can see that Malevich is pushing the limits of the possibility of abstraction. A white form glides on a white expanse at the very threshold of visibility. And color is minimized although it's still present. You can see that there's two very different forms of white in the composition. And the surface is very worked. So white is a way of taking away, minimizing color itself and actually focusing on the material of painting.

You see the touch of the brush again and again and you can see that it's very much a picture about the process of painting.

Malevich breaks with the use of perspective that traditional tool to create the illusion of dimensional depth in the work of art although there is a kind of spatial sense that's created by skewing the square form in the center of the composition and the way it's layered over the slightly warmer white ground.

This was painted a year after the Russian Revolution. And you can understand it as part of an effort to create a new visual language for a new world.

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 85

A white square floating weightlessly in a white field, Suprematist Composition: White on White was one of the most radical paintings of its day: a geometric abstraction without reference to external reality. Yet the picture is not impersonal: we see the artist's hand in the texture of the paint, and in the subtle variations of the whites. The square is not exactly symmetrical, and its lines, imprecisely ruled, have a breathing quality, generating a feeling not of borders defining a shape but of a space without limits.

After the Revolution, Russian intellectuals hoped that human reason and modern technology would engineer a perfect society. Malevich was fascinated with technology, and particularly with the airplane, instrument of the human yearning to break the bounds of earth. He studied aerial photography, and wanted White on White to create a sense of floating and transcendence. White was for Malevich the color of infinity, and signified a realm of higher feeling.

For Malevich, that realm, a utopian world of pure form, was attainable only through nonobjective art. Indeed, he named his theory of art Suprematism to signify "the supremacy of pure feeling or perception in the pictorial arts"; and pure perception demanded that a picture's forms "have nothing in common with nature." Malevich imagined Suprematism as a universal language that would free viewers from the material world.

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