At the back: inscribed "po ris Malevicha" and "Suprematismo" in Cyrillic, the black square mark of the Suprematist movement; 1923 mark of the State Porcelain Manufactory in blue and monogram of Tsar Nicholas II in green.
Reference publications: Nina Lobanov-Rostovsky, Revolutionary Ceramics. Soviet Porcelain 1917, London 1990, p. 134, pl. 163; Circling the Square. Avant-Garde porcelain from Revolutionary Russia, 2004, p. 58. Provenance: Private collection.
With the artistic policy adopted by the Bolshevik government shortly after the Revolution, porcelain was immediately considered a useful propaganda tool and played an important role in educating the masses. The State Porcelain Manufactory was the pioneering institution for the production of revolutionary items.
The supremacist period dating back to 1923, when this dish was made, is considered the most experimental and innovative of all stages of the factory's production. During this period Sergei Chekhonin, the factory's art director, played a vital role in involving avant-garde artists in the production process. He invited artists such as Kazemir Malevich, Nikolai Suetin and Vassily Kandinsky to design plates and cups. The Suprematists' concepts of art centered on abstract geometric shapes - the square, circle and cross, which fit perfectly with porcelain.

Kazimir Malevich is one of the fundamental founders of non-objective art in the twentieth century. Between 1915 and 1932, he developed an abstract painting system called Suprematism, which sought to abstractly express the idea of ​​the modern city and modern technology. This new formulation developed very rapidly and by the end of 1915-1916 it had already shifted from a static composition aesthetic to a more dynamic realm, demonstrating Malevich's desire to visually express different states of feeling and non-dimensionality.
In 1923, Malevich donated an ink and watercolor drawing called Dynamic Composition to the factory. It is perhaps among his best known porcelain designs.

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