“I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting – to non-objective creation.”

— Kazimir Malevich

Quote of Malevich, November 1916, in: 'From Cubism and Futurism to Suprematism: The New Realism in Painting'
1910 - 1920

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Kazimir Malevich 31

Russian and Soviet artist of polish descent 1879–1935

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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

Quote of Malevich, cited in Artists on Art; from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 452
1910 - 1920

“We have named PROUN [the art, stepping over from painting to architecture] a station on the path to the construction of the new form... From being a simple depicter the artist becomes a creator (builder) of forms for a new world — the world of objectivity. This does not mean the creation of a rivalry with the engineer. Art has not yet crossed paths with science.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

“The monster I kill every day is the monster of realism. The monster who attacks me every day is destruction. Out of the duel comes the transformation. I turn destruction into creation over and over again.”

Anaïs Nin (1903–1977) writer of novels, short stories, and erotica

Source: Henry and June: From "A Journal of Love"--The Unexpurgated Diary of Anaïs Nin

“In art progress does not consist in extension, but in the knowledge of limits.
Limitation of means determines style, engenders new form, and give impulses to creation.
Limited means often constitute the charm and force of primitive painting. Extension, on the contrary, leads the arts to decadence.
New means, new subjects.
The subject is not the object; it is a new unity, a lyricism which grows completely from the means.”

Georges Braque (1882–1963) French painter and sculptor

Source: 1908 - 1920, quotes from Artists on Art...(1972), p. 423 - short quotes by Georges Braque on 'Means' - Paris, 1917

“After having passed through the various phases of plastic creation [the phases of arrangement, composition, and construction] I have arrived at the creation of 'universal forms' through constructing upon an arithmetical basis with the pure elements of painting.”

Theo van Doesburg (1883–1931) Dutch architect, painter, draughtsman and writer

Quote in Van Doesburg's article 'From intuition towards certitude', 1930; as quoted in 'Réalités nouvelles', 1947, no. 1, p. 3
1926 – 1931

“The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.”

C.G. Jung (1875–1961) Swiss psychiatrist and psychotherapist who founded analytical psychology

“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.”

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

Quote in 'From Cubism and Futurism to Suprematism: The New Realism in Painting', Kazimir Malevich, November 1916
1910 - 1920

“Liberation from every form of exploitation, the possibility of a more human and dignified life, the creation of a new humankind - all pass through this struggle.”

Gustavo Gutiérrez (1928) Peruvian theologian

Conclusion, p. 174
A Theology of Liberation - 15th Anniversary Edition

“Realism that is not primitive, not realia but realiora, consists in displacement, distortion, curvature, non-objectivity.”

Yevgeny Zamyatin (1884–1937) Russian author

Zamyatin here references a statement in Latin created by the poet Vyacheslav Ivanov: a realibus ad realiora ["from the real to the more real" or “from reality toward a higher reality"]
On Literature, Revolution, Entropy and Other Matters (1923)
Context: Science and art both project the world along certain coordinates. Differences in form are due only to differences in the coordinates. All realistic forms are projections along the fixed, plane coordinates of Euclid's world. These coordinates do not exist in nature. Nor does the finite, fixed world; this world is a convention, an abstraction, an unreality. And therefore Realism — be it "socialist" or "bourgeois" — is unreal. Far closer to reality is projection along speeding, curved surfaces — as in the new mathematics and the new art. Realism that is not primitive, not realia but realiora, consists in displacement, distortion, curvature, non-objectivity. Only the camera lens is objective.

“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.”

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

As quoted in Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 194
1921 - 1930

“I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting – to non-objective creation.”

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Kazimir Malevich 31

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