Inserting Art into a personal mold

Writings of the Russian Suprematists are certainly provocative and refreshing. They talk of “spitting” on the old, established academia of realism and “venturing” forth to the creation of new form. They advocate inventiveness and shun the portrait of nature as savagery. They seek to find and create the real art. Their challenge to the ancient form of “reproduction” art is very powerful. Indeed, there is nothing new introduced to us when we gaze into the mysterious smile of Mona Lisa. But nonetheless, Mona Lisa is captivating. It seems that the definition of Art is a main source of contention. Russian Suprematists define art as composition of pure forms and colors. It is something isolated from reality, an absolute invention, and the works of Renaissance masters are harshly criticized for their lack of inventiveness. Kazimir Malevich’s “Suprematist Composition” is the complete embodiment of this new art. Red, Yellow, Black, and Blue quadrangles float within a white canvas in the Suprematist Composition. In another work of Malevich, Black Quadrilateral, a single large, black square occupies the canvas. During a long stare at the works, mind wavers. Is this complex? Is this simple? Is it wonderful? Is it not? Poetries within the works are immense. One of the most difficult questions to answer is perhaps, is this richer than Mona Lisa? Today’s best cameras cannot capture all that is present in many great representational works of art. Suprematist’s definition of art is valid, but there are ways of defining art that respects the richness contained in Mona Lisa, David, or Madonna. Our ability of recognize art is the projection of our own inspiration. What I am most curious about is Suprematist’s reaction to the works of Van Gogh or Monet, where equal parts of nature and human inventiveness are so harmoniously present.