Suprematist Composition: White on White (1918) is an abstract oil-on-canvas painting by Kazimir Malevich.It is one of the more well-known examples of the Russian Suprematism movement, painted the year after the October Revolution.. 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 …

Kazimir Malevich. Suprematist Composition: White on White. 1918. Oil on canvas. 31 1/4 x 31 1/4" (79.4 x 79.4 cm). 1935 Acquisition confirmed in 1999 by agreement with the Estate of Kazimir Malevich and made possible with funds from the Mrs. John Hay Whitney Bequest (by exchange). 817.1935. Painting & Sculpture

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Kazimir Malevich (born February 23 [February 11, Old Style], 1878, near Kyiv, Russian Empire [now in Ukraine]—died May 15, 1935, Leningrad, Russia, U.S.S.R. [now St. Petersburg, Russia]) was an avant-garde painter who was the founder of the Suprematist school of abstract painting.. Malevich, who was born to parents of Polish origin, studied drawing in Kyiv and then attended …

Other articles where White on White is discussed: Suprematism: His experiments culminated in the White on White paintings of 1917–18, in which colour was eliminated, and the faintly outlined square barely emerged from its background. At a one-man exhibition of his work in 1919 (“Tenth State Exhibition: Non-objective Creation and Suprematism”), Malevich announced the end of …

White on White 1917-18 Suprematism Oil on canvas The Museum of Modern Art, New York, USA. Malevich often referred to the white as representing the transcendental state through Suprematism. White was his symbol for the concept of the infinite as the white square vanishes its being into the slightly warmer white of its surroundings.

The artwork features a minimalist design, comprising a white square tilted slightly atop a similarly white background, both rendered in subtly different shades. The interplay of these nuanced whites creates a sense of spatial depth and movement, inviting the viewer to appreciate its deceptively simple yet profoundly contemplative composition.

Dr. Zucker: [1:52] It couldn’t be more reduced. Except, if you look at it closely, you see the warm white of the outer square and then that cooler blue, and you’ll notice that the blue and the white don’t really touch. There’s a reserve line, that is, the blue white and warm white are painted close to each other, but not next to each other.

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