Malevich did not ask for the work to be returned, and died in 1935 without leaving instructions on the inheritance of his estate. When he returned to Leningrad later that year, Malevich left it with the architect Hugo Häring in 1930 he passed it on to Alexander Dorner, director of the Provinzialmuseum in Hanover, who put it into storage after the Nazi party came to power in 1933. Malevich took the work to Berlin in 1927, where it was displayed at the Große Berliner Austellung. Malevich intended the painting to evoke a feeling of floating, with the colour white symbolising infinity, and the slight tilt of the square suggests movement.Ī critic from the rival Constructivist movement quipped that it was the only good canvas in an exhibition by Malevich's UNOVIS group: "an absolutely pure, white canvas with a very good prime coating. Although the artwork is stripped of most detail, brush strokes are evident in this painting and the artist tried to make it look as if the tilted square is coming out of the canvas. Malevich dispenses with most of the characteristics of representational art, with no sense of colour, depth, or volume, leaving a simple monochrome geometrical shape, not precisely symmetrical, with imprecisely defined boundaries. A contemporary black and white painting can also.
BLACK AND WHITE PAINTINGS SERIES
Part of a series of "white on white" works begun by Malevich in 1916, the work depicts a white square, portrayed off-centre and at an angle on a ground which is also a white square of a slightly warmer tone. Black and white abstract art offers lots of visual impact and it can become a conversation piece as well. It is one of the more well-known examples of the Russian Suprematism movement, painted the year after the October Revolution. Suprematist Composition: White on White (1918) is an abstract oil-on-canvas painting by Kazimir Malevich. For the 2019 Spanish film, see White on White (film).