In 1913 communist USSR, Kazmir Malevich began to make a series of geometric works in correspondence with the revolutionary ideologies in society and the run up to war. The Avant Garde ‘Supremacist’ movement he invented was renowned for “the styles abstract exploration of space and form was giving birth to a new architectural idiom” (Borchardt-Hume and Bouras 2014: 97) The visual language of abstracted shape, form and colour, assembled to conform with one another, suggesting architectural silhouettes or landscapes. He witnessed a turbulent political climate in Tsarist Russia that influenced his practice as a revolutionary movement. These works were directly corresponding to the hostile environment of the Bolshevik revolution in 1917. Specifically, looking at his “Supremacist” series, his themes were to remove the sense of artist participation when it came to the composition of the image and intervene with architectural geometry that meticulously analysed the technical aspects of the conventional materials around him. Experimenting and managing to put mass production into a communist nationalistic society. He expanded from the values that were expected for fine artists to follow, reinforced by art academies in Europe. The works by Malevich were not visually pleasing but more for representation of current affairs and the materialistic qualities of making artwork, what were their capabilities and how far the objects could be pushed into abstraction and modernism. The artists who involved themselves in constructivism worked in many different forms, from; architecture and graphic design to wood and glass, dictated for what themes they possessed. The artwork once completed would dictate itself on what mediums were used instead of what the artist thought which was the case of traditional art forms. Although the works created by the likes of Malevich were made using found material such as Neo-DADA work, the assemblage of shape and form contains the values of the medium, Disparate shape interchange and cause cohesion architecturally


The spread of Constructivism into Europe was an audacious statement for Malevich as it satires the hostile tactics imposed by the USSR on expansionism into Europe the inability to succeed, whereas art movements crossed borders without bloodshed. It was a very dangerous move by the constructivists but enabled them to explore options to develop their practice with new and invigorating themes. By the 1920’s, Russian Constructivism was being pressurised by the increased hostility imposed by the Bolsheviks after the Revolution, against all forms of avant-garde works. Because it had now rooted in Europe, International Constructivism was created and it was especially successful in Germany. 


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