Description
To immerse yourself in the contemplation of "Proun 3 A" of El Lissitzky is an invitation to travel to the confines of suprematist and constructivist art, territories where geometric shapes and abstraction find full prominence. Elisimír (Lazar) Lissitzky, known as the Lissitzky, was a pioneer of the Russian avant -garde whose influence extended beyond the borders of visual art, reaching fields such as architecture and graphic design. In the PROUN series (Proyekty Utverzhdeniya Novogo, projects for the establishment of the new), we find its artistic apotheosis, in which "Proun 3 A" stands as a clear and powerful sample of its aesthetic and conceptual concerns.
The work "Proun 3 A" presents a composition dominated by angular lines, rectangular elements and geometric shapes distributed in an apparent harmonic chaos. The choice of colors, predominantly black, white, gray and a touch of red, aligns with the chromatic austerity of Kazimir Malevich's suprematism, his mentor. However, Lissitzky prints his personal seal through space manipulation and suggested depth, breaking with classical flatness and proposing a new dialogue between figure and background.
"The Proun space" is the term coined by Lissitzky to describe this type of works, in which two -dimensionality is overcome by the suggestion of abstract three -dimensional spaces. In "Proun 3 A", this illusion is achieved through the masterful use of overlap and axonometric perspective. Rectangles and straight lines do not work only as flat objects, but are perceived as complex architectural structures, such as models of a parallel universe governed by pure geometry.
Lissitzky, firm driver of the fusion between art and technology, glimpses in "Proun 3 to" more than a painting: a proposal for transformation of the human environment. In its utopian vision, art should not be limited to passive contemplation but should be an instrument of social change, a bridge towards an industrial and collective future, in harmony with production and functionality. The presence of red, although shy, introduces a note of dynamism and revolution, perhaps evoking the energy of constructivism and the Russian revolutionary spirit of the early twentieth century.
When observing the work carefully, the viewer will not find recognizable characters or narratives. Here, there is no place for the human being represented in its physical appearance, but in its capacity for intellectual creation and transformation of the environment. The depersonalization in the works is total, and it is in that lack of human figures where its main paradox lies: to talk about human influence without the need to show the human being in its traditional form.
The Lissitzky achieved with "Proun 3 A" and the remaining corpus of his work in the Proun series, to create a new visual language that today continues to resonate at the intersection of art, architecture and design. Its impulse towards the modern finds echo in the movements of the 21st century that still seek to blur the limits between disciplines and promote aesthetic and functional innovation. "Proun 3 A", in its apparent geometric coldness, has a beat of promises, of new possible constructions, becoming an cornerstone in the history of avant -garde art.
In conclusion, the "Proun 3 A" of El Lissitzky does not appear simply as a work to be a view indissolubly. Geometry, color and spatial disposition are the instruments of this abstract symphony that continues to resonate in the eternity of modern art.
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