Calm Modernism: Virginia Woolf, Kazimir Malevich, and Eternal Rest

Critics have studied Virginia Woolf's literary aesthetics through lenses of Western European art movements such as Impressionism and Post-Impressionism. Woolf's aesthetic affinities with art movements from a Russian tradition such as Kazimir Malevich's Suprematism have gone unremarked. Both Malevich's painting Black Square (1915), his definitive representation of Suprematism, and Woolf's To the Lighthouse (1927), her most painterly novel, apply figurations of darkness to indicate an infinite cosmos of restful nothingness as supreme reality or the essence of existence. Malevich's and Woolf's shared aesthetic thus reveals a calm modernism different from critical associations of modernism with heightened conflict. Yet Woolf might be said to add a feminist angle to this aesthetic she shares with Malevich. Mrs. Ramsay as a "core of darkness" is released from gendered labor into what she experiences as "this peace, this rest, this eternity." Woolf thus suggests that entwinement with cosmological peace may be a more fundamental feature of modernist subjectivity than confinement to a gendered sociopolitics of struggle.