Compare and contrast White on White by Kazimir Malevich to Suprematism by Kazimir Malevich – An ‘Isms’ Overview

Kazimir Malevich, a prominent Russian avant-garde artist, made significant contributions to the development of abstract art during the early 20th century. In this comparative analysis, we will examine two of Malevich’s pivotal works: “White on White” (1918) and “Suprematism” (1915). By exploring their formal characteristics, conceptual underpinnings, and historical contexts, we aim to discern the similarities and differences between these two iconic paintings.

“White on White” and “Suprematism” both employ non-representational forms, devoid of recognizable objects or figures. However, their formal characteristics diverge significantly. “Suprematism” is characterized by bold geometric shapes, such as squares, rectangles, and triangles, arranged dynamically across the canvas. Malevich employs a limited colour palette, primarily consisting of black, white, and various shades of grey, contributing to the painting’s stark and impactful visual effect. In contrast, “White on White” presents a composition dominated by a single colour, as suggested by the title. Here, Malevich explores variations of white through subtle tonal shifts and delicate textures, creating a sense of depth and spatial ambiguity.

The conceptual underpinnings of these two works also reveal contrasting approaches. “Suprematism” embodies Malevich’s belief in the supremacy of pure artistic feeling, a departure from the traditional role of art as representation. By reducing form to its most essential geometric elements, Malevich sought to express a universal visual language that transcended specific cultural contexts. In contrast, “White on White” delves further into the realm of abstraction, pushing the boundaries of representation even beyond geometric forms. Malevich’s exploration of white as the embodiment of pure spiritual energy reflects his desire to reach a state of transcendence and connection with the divine. Thus, while both works embrace abstraction, their conceptual motivations differ significantly.

The historical context surrounding these two paintings further contributes to their contrasting nature. “Suprematism” emerged during the tumultuous period of World War I and the Russian Revolution. Malevich’s geometric abstractions can be seen as a response to the chaotic political and social climate of the time. By eliminating representational elements, Malevich sought to create an art form that transcended the limitations of the physical world. In contrast, “White on White” was created in 1918, following the Bolshevik Revolution. Malevich’s work had evolved, reflecting the utopian ideals of the early Soviet Union. The painting’s ethereal white composition can be interpreted as an expression of hope and the pursuit of a harmonious future.

In conclusion, the comparison between Kazimir Malevich’s “White on White” and “Suprematism” reveals intriguing differences and similarities. While both works embrace abstraction and strive for transcendence, they diverge in their formal characteristics, conceptual underpinnings, and historical contexts. “Suprematism” embodies the search for a universal visual language through geometric forms, responding to the turbulent times of World War I and the Russian Revolution. On the other hand, “White on White” pushes the boundaries of abstraction even further, exploring the spiritual and metaphysical realms, reflecting the utopian aspirations of the early Soviet Union. Together, these two paintings showcase Malevich’s groundbreaking contributions to the development of abstract art, leaving an indelible mark on the art world of the 20th century.