“For us [the young artists in Vitebsk, before 1920] Suprematism did not signify the recognition of an absolute form which was part of an already completed universal system, on the contrary; here stood revealed for the first time in all its purity the clear sign and plan for a definite new world never before experienced - a world which issues forth from our inner being and which is only now in the first stages of its formation, for this reason the square [ Malevich's Black and Red Square ] of suprematism became a beacon.”

— El Lissitsky

Quote from Lissitzky's essay of 1920, 'Suprematism in World Reconstruction'; as quoted by Sophie Lissitzky-Küppers, in El Lissitzky: Life, Letters, Texts, trans. Helene Aldwinckle and Mary Whittall (Greenwich, Conn.: New York Graphic Society, 1968), p. 327
1915 - 1925

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El Lissitsky 43

Soviet artist, designer, photographer, teacher, typographer… 1890–1941

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“From the beginning of the [Sovjet] Revolution I was a member of the Committee for Art. Was commissioned for the first Soviet flag for the First of May 1918, which was carried across Red Square by members of the government. Later I worked at 'Izo Narkomprosa'. From 1919 I taught at the Higher Artists' Workshops in Vitebsk”

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

our students Suetin, Judin and others
[the 'Vitebsk Higher Institute of Art'; - Lissitsky and Kazimir Malevich were invited to teach art by the director then Marc Chagall ]
1926 - 1941, Autobiography of the artist' (1941)

“When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field. The critics and, along with them, the public sighed, 'Everything which we loved was lost. We are in a desert... Before us is nothing but a black square on a white background!”

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

But the desert is filled with the spirit of non-objective feeling.. ..which penetrates everything.
In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ISBN 0-486-42974-1], 'part II: Suprematism', p. 68
1921 - 1930

“My faith in the future rests squarely on the belief that man, if he doesn't first destroy himself, will find new answers in the universe, new technologies, new disciplines, which will contribute to a vastly different and better world in the twenty-first century.”

Barry Goldwater (1909–1998) American politician

With No Apologies (1979)
Context: My faith in the future rests squarely on the belief that man, if he doesn't first destroy himself, will find new answers in the universe, new technologies, new disciplines, which will contribute to a vastly different and better world in the twenty-first century. Recalling what has happened in my short lifetime in the fields of communication and transportation and the life sciences, I marvel at the pessimists who tell us that we have reached the end of our productive capacity, who project a future of primarily dividing up what we now have and making do with less. To my mind the single essential element on which all discoveries will be dependent is human freedom.

“.. into this chaos [after the Bolshevik' revolution] came suprematism extolling the square [referring to the Squares of Malevich] as the very source of all creative expression, and then came communism and extolled work as the true source of man's heartbeat.”

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

Quote, 1920; in 'Suprematism in World Reconstruction,', El Lissitzky; as cited by Sophie Lissitzky-Küppers in El Lissitzky: Life, Letters, Texts, transl. Helene Aldwinckle and Mary Whittall (Greenwich, Conn.: New York Graphic Society, 1968), p. 327
1915 - 1925

“Creation is dominated by three absolutely different factors: First, nature, which works upon us by its laws; second, the artist, who creates a spiritual contact with nature and his materials; third, the medium of expression through which the artist translates his inner world. Of those three components only one, the medium, is material.”

Hans Hofmann (1880–1966) American artist

As quoted in Hans Hofmann (1963) by William Chapin Seitz, p. 15
1960s

“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

“Love, too, now has its adequate definition: it is the all-directing intelligence which includes in its recognition a world of beings accorded free and seen as sacred, — the primary and supreme act of intelligence, which is the source of all other intelligence, and whose object is that universal circle of spirits which, since the time of the Stoics, has so pertinently been called the City of God. Its contemplation of this sole object proper to it was fitly named by Dante and the great scholastics the Vision Beatific.”

George Holmes Howison (1834–1916) American philosopher

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Harmony of Determinism and Freedom, p.361

“That tower of strength
Which stood four-square to all the winds that blew.”

Alfred, Lord Tennyson (1809–1892) British poet laureate

St. IV
Ode on the Death of the Duke of Wellington (1852)

“All things that are in the world are linked together, one way or the other. Not a single thing comes into being without some relationship to every other thing. Scientific intellect thinks here in terms of natural laws of necessary causality; mythico-poetic imagination perceives an organic, living connection; philosophic reason contemplates an absolute One. But on a more essential level, a system of circuminsession has to be seen here, according to which, on the field of Śūnyatā, all things are in a process of becoming master and servant to one another. In this system, each thing is itself in not being itself, and is not itself in being itself. Its being is illusion in its truth and truth in its illusion. This may sound strange the first time one hears it, but in fact it enables us for the first time to conceive of a force by virtue of which all things are gathered together and brought into relationship with one another, a force which, since ancient times, has gone by the name of "nature"”

Keiji Nishitani book Religion and Nothingness

physis
Source: Religion and Nothingness (1983), p. 149

“All the world was before me and every day was a holiday, so it did not seem important to which one of the world's wildernesses I first should wander.”

John Muir (1838–1914) Scottish-born American naturalist and author

Source: The Yosemite

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