Abstract
The author offers the geometric and aesthetic rationale as to why Russian artist Kasimir Malevich subtitled five of his paintings as ‘Colored Masses in the Fourth Dimension’, even though they seemingly do not differ significantly from his other works with titles such as ‘Self Portrait in Two Dimensions’. In explaining Malevich's titling, art historians have, in the main, credited the influence of theosophical concepts of a fourth dimension as proffered by Ouspensky on the artist's desire to project a ‘feeling’ of higher dimension. The author asserts instead that Malevich's paintings could be viewed as actual visualizations of a 4-D geometry and that his notions about geometry in art rely far more on Nikolai Lobachevsky's concept of pangeometry.
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