By Suprematism, I mean the supremacy of pure feeling in the pictorial arts. From the Suprematist point of view, the appearances of natural objects are in themselves meaningless; the essential thing is feeling – in itself and completely independent of the context in which it has been evoked. Academic naturalism, the naturalism of the impressionists, of Cézannism, [Malevich valued Cezanne's art as a temporarily necessary but still 'provincial art' in the long developing line of modern art], of Cubism, etc., are all so to speak nothing but dialectic methods, which in themselves in no way determine the true value of the work of art.

In: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451