Suprematism in the context of "Olga Rozanova"

Dame Zaha Mohammad Hadid (Arabic: زَها محمد حسين حديد اللهيبي, Zahā Ḥadīd; 31 October 1950 – 31 March 2016) was an Iraqi and British architect, artist, and designer. She is recognised as a key figure in the architecture of the late-20th and early-21st centuries. Born in Baghdad, Iraq, Hadid studied mathematics as an undergraduate and later enrolled at the Architectural Association School of Architecture in 1972. In search of an alternative to traditional architectural drawing, and influenced by Suprematism and the Russian avant-garde, Hadid adopted painting as a design tool and abstraction as a method to "reinvestigate the aborted and untested experiments of Modernism [...] to unveil new fields of building".

She was described by The Guardian as the "Queen of Curves", who "liberated architectural geometry, giving it a whole new expressive identity". Her major works include the London Aquatics Centre for the 2012 Olympics, the Broad Art Museum, Rome's MAXXI Museum, and the Guangzhou Opera House. Some of her awards have been presented posthumously, including the statuette for the 2017 Brit Awards. She was also recognized by the 2013 Forbes List as one of the "World's Most Powerful Women". Several of her buildings were still under construction at the time of her death, including the Daxing International Airport in Beijing and the Al Wakrah Stadium (now Al Janoub) in Qatar, a venue for the 2022 FIFA World Cup.

The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum, Imaginism, and Neo-primitivism. In Ukraine, many of the artists who were born, grew up or were active in what is now Belarus and Ukraine (including Kazimir Malevich, Aleksandra Ekster, Vladimir Tatlin, David Burliuk, Alexander Archipenko), are also classified in the Ukrainian avant-garde.

The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932, at which point the ideas of the avant-garde clashed with the newly emerged state-sponsored direction of Socialist Realism.

Kazimir Severinovich Malevich (23 February [O.S. 11 February] 1879 – 15 May 1935) was a Russian avant-garde artist and art theorist, whose pioneering work and writing influenced the development of abstract art in the 20th century. His concept of Suprematism sought to develop a form of expression that moved as far as possible from the world of natural forms (objectivity) and subject matter in order to access "the supremacy of pure feeling" and spirituality. Born in Kiev, modern-day Ukraine, to an ethnic Polish family, Malevich was active primarily in Russia and became a leading artist of the Russian avant-garde. His work has been also associated with the Ukrainian avant-garde, and he is a central figure in the history of modern art in Central and Eastern Europe more broadly.

Early in his career, Malevich worked in multiple styles, assimilating Impressionism, Symbolism, Fauvism, and Cubism through reproductions and the works acquired by contemporary Russian collectors. In the early 1910s, he collaborated with other avant-garde Russian artists, including Mikhail Larionov and Natalia Goncharova. After World War I, Malevich gradually simplified his approach, producing key works of pure geometric forms on minimal grounds. His abstract painting Black Square (1915) marked the most radically non-representational painting yet exhibited and drew "an uncrossable line (…) between old art and new art". Malevich also articulated his theories in texts such as From Cubism and Futurism to Suprematism (1915) and The Non-Objective World (1926).

Nadezhda Andreevna Udaltsova (Russian: Наде́жда Андре́евна Удальцо́ва, 29 December 1885 – 25 January 1961) was a Russian avant-garde artist (Cubist, Suprematist), painter and teacher.

Kseniya (or Ksenia or Xenia) Boguslavskaya (Russian: Ксения Богуславская), also known as Xana Puni, (born 5 February [O.S. 24 January] 1892 in Odessa, died 3 May [O.S. 20 April] 1972 in Herblay-sur-Seine) was a Russian avant-garde artist (Futurist, Suprematist), illustrator and scenic designer. She was the wife of the painter Ivan Puni.

El Lissitzky (Russian: Эль Лиси́цкий, born Lazar Markovich Lissitzky Russian: Ла́зарь Ма́ркович Лиси́цкий, listen; 23 November [O.S. 11 November] 1890 – 30 December 1941) was a Russian and Soviet artist, active as a painter, illustrator, designer, printmaker, photographer, and architect. He was an important figure of the avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union.

Lissitzky began his career illustrating Yiddish children's books in an effort to promote Jewish culture. He started teaching at the age of 15, maintaining his teaching career for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he moved to Weimar Republic. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany.