Painterly Realism of a Football Player—Color Masses in the 4th Dimension

Description

Kazimir Malevich explained in 1921, “In reality, the globe has no bottom, no top, no perspective, no weight—it does not have that most important thing upon which our knowledge of the world is based: relativity.” This statement, which expresses the radical ideas of the Suprematist movement, illuminates Malevich’s belief that art could undermine basic, yet erroneous, assumptions that inform what we accept as “natural” or “normal.”

Breaking from observed reality to focus instead on the relationship between colored geometric forms on a textured white background, Malevich asked viewers to imagine a new type of realism in painting. He invoked this style through the metaphor of a spatial fourth dimension, referenced in the title of this piece, and by displaying the works without frames and refusing to assign them a precise orientation.

Provenance

The artist (d. 1935); by descent to the artist’s heirs; sold to the Art Institute of Chicago, January 2011.

Painterly Realism of a Football Player—Color Masses in the 4th Dimension

Kasimir Malevich

Summer/fall 1915

Accession Number

207293

Medium

Oil on canvas

Dimensions

Original: 71 × 44.5 cm (27 × 17 1/2 in.); Present: 70.2 × 44.1 cm (27 5/8 × 17 5/16 in.)

Classification

Painting

Museum

The Art Institute of Chicago

Chicago, United States

Credit Line

Through prior gifts of Charles H. and Mary F. S. Worcester Collection; Mrs. Albert D. Lasker in memory of her husband, Albert D. Lasker; and Mr. and Mrs. Lewis Larned Coburn Memorial Collection

Background & Context

Background Story

Kasimir Malevich's Painterly Realism of a Football Player—Color Masses in the 4th Dimension (1915) is an oil on canvas painting with one of the most remarkable titles in the history of modern art. Malevich (1879-1935) was the founder of Suprematism, an abstract art movement based on the supremacy of pure geometric form and color over representational content. This painting, created in the summer and fall of 1915, belongs to the transitional period between Malevich's Cubo-Futurist works and the fully abstract Suprematist compositions that would follow. The title suggests a subject (a football player) that has been transformed through the artist's investigation of color masses in the fourth dimension. The composition is a dynamic arrangement of geometric shapes and vivid colors that suggest the energy and movement of a football player without representing him literally. The forms are simplified, the colors are intense, the composition is dynamic. This painting represents a crucial step in Malevich's journey toward the radical abstraction of his Black Square (1915) and the Suprematist works that transformed modern art.

Cultural Impact

Malevich's Suprematist works were among the most radical innovations in 20th-century art, rejecting representation entirely in favor of pure geometric form and color.

Why It Matters

This painting of a football player transformed through color masses in the fourth dimension represents a crucial step in Malevich's journey toward the radical abstraction of Suprematism.