Art & Context:
Monet's Cliff Walk at Pourville
and Malevich's White on White
Claude Monet, Cliff Walk at Pourville, oil on canvas, 1882 (Art Institute of Chicago)
Kazimir Malevich, Suprematist Composition: White on White, oil on canvas, 1918 (MoMA)
Beth Harris, Sal Khan, and Steven Zucker discuss art and context
Where and When
Moscow, Russia and Paris, France
1882 and 1918
1882 and 1918
Your Comments (3)
Previous Comments
Dani Bee wrote on Friday, September 04, 2009
The exchange of ideas in this conversation has helped my research and understanding immensely. Thx for the resource.
Daniel Forrest Hoffman wrote on Tuesday, April 06, 2010
Im curious how the suprematists and the Russian constructivists overlapped with regard to the politics. I know that the Russian government was beginning to enforce controls on art and design. Apparently Malevich left Russia because of this, but I see his influence in the constructivist movement. If the government was ok with the constructivist movement and there were hints of suprematism in it, what was it about Malevich's art that so threatened the Russian government?
Allison wrote on Thursday, March 10, 2011
Malevich seeks to eradicate context within this work and attempts to achieve an artwork that has universality; the work doesn’t speak specifically to males or females, the peasants or the elite which stems from his socialist upbringing. I believe Malevich achieved universality; however what Malevich didn’t account for was the fact that everyone doesn’t have a collective taste. Personally I’m enamored with this work, but I too understand why others don’t really get it.
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