“By Suprematism I mean 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.”

—  Kazimir Malevich

In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ISBN 0-486-42974-1], 'part II: Suprematism', p. 67
1921 - 1930

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Kazimir Malevich 31
Russian and Soviet artist of polish descent 1879–1935

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“By Suprematism, I mean the supremacy of pure feeling in the pictorial arts. From the Suprematist point of view, 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. Academic naturalism, the naturalism of the impressionists, of Cézannism, of Cubism, etc., are all so to speak nothing but dialectic methods, which in themselves in no way determine the true value of the work of art.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich, 1927 in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451
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“The representation of an object, in itself (the objectivity as the aim of the representation), is something that has nothing to do with art, although the use of representation in a work of art does not rule out the possibility of its being of a high artistic order. For the Suprematist, therefore, the proper means is the one that provides the fullest expression of pure feeling and ignores the habitually accepted object. The object in itself is meaningless to him; and the ideas of the conscious mind are worthless. Feeling is the decisive factor.... and thus art arrives at non-objective representation – at Suprematism.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

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“I too was filled with a sort of shyness and fear, as I was called to leave 'the world of will and idea' in which I had lived and created, and in whose reality I had believed. But the happy liberating touch of non-objectivity drew me out into the 'desert' where only feeling is real.... and so feeling became the content of my life. It was no 'empty square' I had exhibited but the feeling of non-objectivity. 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? Suprematism is the rediscovery of that pure art which in the course of time, and by an accretion of 'things', had been lost to sight.”

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As quoted in Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 453
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“The rectangular picture-plane indicates the starting point of Suprematism; a new realism of color conceived as non-objective creation. The forms of Suprematist art live like all the living forms of nature. This is a new plastic realism, plastic precisely because the realism of hills, sky and water is missing. Every real form is a world. And any plastic surface is more alive than a (drawn or painted) face from which stares a pair of eyes and a smile. [1914]”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

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“The principal element of Suprematism in painting, as in architecture, is its liberation from all social or materialist tendencies. Through Suprematism, art comes into its pure and unpolluted form. It has acknowledged the decisive fact of the nonobjective character of sensibility. It is no longer concerned with illusion.”

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