Often, painting is an important source of influence for stage productions, but it is extremely rare for a theatrical piece to influence painting. However, this is exactly what happened with Malevich, where the Cubist stage design with abstract shapes (cones or spirals), paper mache costumes, and blinding light inspired the artist to be the cornerstone of a unique pictorial movement: Suprematism. As Malevich explains in his artistic-historical journey, Suprematism had "three degrees": black, color, and white. While the black period defined the foundations of Suprematist fundamentalism as early as 1916, the colors and then the white allowed Malevich to delve into the most absolute abstraction. The painting is freed from any representation, and the color is no longer worked for anything but itself. The intention is clear: painting should only be experienced for what it is, nothing else. Considered as a pure pictorial sensation, far from the early days of abstract art, Suprematism makes the image nothing more than a colored, autonomous surface, detached from its environment and disconnected from external reality.
This lithograph is based on Kazimir Severinovich Malevich's painting "Supremus N56" from 1915. It is a re-edition of the lithograph made in 1936 following the death of Kazimir Malevitch. It was printed by the Mourlot Atelier, a famous Parisian printing house known for its close collaboration with the greatest artists of the 20th century. Commissioned by the Gerard Piltzer Gallery (Paris) in 1992 with permission from the Russian State Museum of Saint Petersburg. Stamped with the cachet of Mourlot Paris, the Gerard Piltzer Gallery, and the Russian State Museum. The lithographs were printed from the painting, so the reproduction is close to the original and printed with the excellent color and detail quality for which Mourlot is recognized.
