"The artist should know what, and why, things happen in his pictures. Formerly he lived by some kind of mood. He awaited the rising of the moon, twilight, put green shades on his lamps, and this all attuned his mood like a violin. But when asked why his face was crooked, or green, he could not give an exact answer. 'I want it so, i like it like that...' In the end this desire was ascribed to intuitive will. Consequently the intuitive feeling did not speak clearly. And in that case, its condition was not only subconscious, but totally unconscious".

- Kasimir Malevich (1878-1935)

Source: Malevich, Kasimir. From Cubism and Futurism to Suprematism: The New Realism in Painting. Translation by T.Anderson (ed.), K.S. Malevich: Essays on Art 1915-1933, vol. 1, Copenhagen, 1969, pp. 19-21, 23-5, 26-36 and 38-41. Printed in: Harrison & Wood (ed). Art in Theory. 1900-2000. An Anthology Of Changing Ideas. Malden: Blackwell Publishing, pp173-183.

"Academic realists - they are the last descendants of the svage. It is they who go about in the worn-out robes of the past"

- Kasimir Malevich (1878-1935)

Source: Malevich, Kasimir. From Cubism and Futurism to Suprematism: The New Realism in Painting. Translation by T.Anderson (ed.), K.S. Malevich: Essays on Art 1915-1933, vol. 1, Copenhagen, 1969, pp. 19-21, 23-5, 26-36 and 38-41. Printed in: Harrison & Wood (ed). Art in Theory. 1900-2000. An Anthology Of Changing Ideas. Malden: Blackwell Publishing, pp173-183.

"The transferring of real objects onto canvas is the art of skilful reproduction, and only that. And between the art of creating and the art of copying there is a great difference. The artist can be a creator only when the forms in his picture have nothing in common with nature. For art is the ability to construct, not on the interrelation of form and colour, and not on an aesthetic basis of beauty in composition, but on the basis of weight, speed and the direction of movement"

- Kasimir Malevich (1878-1935)

Source: Malevich, Kasimir. From Cubism and Futurism to Suprematism: The New Realism in Painting. Translation by T.Anderson (ed.), K.S. Malevich: Essays on Art 1915-1933, vol. 1, Copenhagen, 1969, pp. 19-21, 23-5, 26-36 and 38-41. Printed in: Harrison & Wood (ed). Art in Theory. 1900-2000. An Anthology Of Changing Ideas. Malden: Blackwell Publishing, pp173-183.

"Only a cowardly consciousness and meagre creative powers in an artist are deceived by this fraud and base their art on the forms of nature (...) To reproduce beloved objects and little corners of nature is just like a thief being enraptured by his legs in irons"

- Kasimir Malevich (1878-1935)

Source: Malevich, Kasimir. From Cubism and Futurism to Suprematism: The New Realism in Painting. Translation by T.Anderson (ed.), K.S. Malevich: Essays on Art 1915-1933, vol. 1, Copenhagen, 1969, pp. 19-21, 23-5, 26-36 and 38-41. Printed in: Harrison & Wood (ed). Art in Theory. 1900-2000. An Anthology Of Changing Ideas. Malden: Blackwell Publishing, pp173-183.

"Only with the disappearance of a habit of mind which sees in pictures little corners of nature, madonnas and shameless Venuses, shall we witness a work of pure, living art."

- Kasimir Malevich (1878-1935)

Source: Malevich, Kasimir. From Cubism and Futurism to Suprematism: The New Realism in Painting. Translation by T.Anderson (ed.), K.S. Malevich: Essays on Art 1915-1933, vol. 1, Copenhagen, 1969, pp. 19-21, 23-5, 26-36 and 38-41. Printed in: Harrison & Wood (ed). Art in Theory. 1900-2000. An Anthology Of Changing Ideas. Malden: Blackwell Publishing, pp173-183.

"Only dull and impotent artists screen their work with sincerity. In art there is need for truth, not sincerity."

- Kasimir Malevich (1878-1935)

Source: Malevich, Kasimir. From Cubism and Futurism to Suprematism: The New Realism in Painting. Translation by T.Anderson (ed.), K.S. Malevich: Essays on Art 1915-1933, vol. 1, Copenhagen, 1969, pp. 19-21, 23-5, 26-36 and 38-41. Printed in: Harrison & Wood (ed). Art in Theory. 1900-2000. An Anthology Of Changing Ideas. Malden: Blackwell Publishing, pp173-183.