Abstract
This chapter focuses on Kazimir Malevich's use of the term supremus to describe his paintings, drawings, theoretical interpretations, and organizational activities between 1916 and 1918, and explains that Malevich first used the term supremus in an April 1946 letter to Mikhail Matiushin to describe his non-objective paintings. The supremus works were assigned numbers attesting to their specific logic and their connections within the whole. The chapter also describes some of Malevich's supremuses including Supremus No. 51, Supremus No. 50, and Supremus No. 57.
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