Description
In the field of the artistic avant -garde of the twentieth century, the works of El Lissitzky occupy a prominent place, especially their contributions to Russian suprematism and constructivism. The painting "Here are two squares" of 1920 serves as a portal to understand the ideals and technical innovation that characterized its artistic production. This work, in its apparent simplicity, is a compendium of geometric rationality and formal purity that cannot go unnoticed by the connoisseurs of contemporary art.
The first impression that one obtains by observing "Here are two squares" is its compositional austerity and the efficiency with which Lissitzky handles visual elements. As its title indicates, the paint focuses on the presence of two squares, one red and one black, arranged in a space devoid of superfluous ornaments. The white background acts as a neutral field that enhances the interaction between these basic forms and allows the viewer to focus exclusively on their dynamic relationship.
The red square, slightly displaced from the center to the upper left of the composition, is presented in an inclined position, suggesting a certain instability or movement. This dynamism is contrasted with the static and sober presence of the black square towards the lower right. The diagonal arrangement of the red square breaks with the rigidity of the plane and makes the work an exploration of space and the form in a two -dimensional context. This interaction between the two squares symbolizes the clash and harmony of opposite forces, which adds a layer of philosophical and emotional complexity to the piece.
The use of color in "Here are two squares" is as intentional as the management of forms. The red, color of the revolution and change, is matched with black, which is traditionally associated with the absolute and the unknown. This chromatic duality could be interpreted as a visual metaphor for the social and political transformation that was happening in Russia at that time. However, being a representative of suprematism, the Lissitzky also intends to transcend the merely anecdotal and circumscribe his work to a sphere of universality and abstraction.
Instead of realistic characters or reasons, the work stands out for its focus on the essential, a characteristic of suprematism promoted by Kazimir Malévich, Lissitzky's mentor. This artistic current seeks the supremacy of pure artistic sensibility on representative art. The work of El Lissitzky, however, does not remain in the mere abstraction, but projects a vision of construction and order, preluding its subsequent incursion into constructivism, where functionality and technique would play a primary role.
The influence of "here are two squares" is palpable in the subsequent evolution of abstract and geometric art. This work is not only a centerpiece in El Lissitzky's career, but also an unavoidable reference point to understand the transition from suprematism to constructivism. In this sense, it is possible to trace the footprint of this painting in later works such as its famous Proun (projects for the affirmation of the new), where the merger between art and architecture becomes even more evident.
In sum, "here there are two squares" is much more than a simple disposition of geometric shapes. It is a visual manifesto that captures the essence of an era marked by change and experimentation, a work that synthesizes the aspirations of a movement that sought to redefine not only art, but also the very perception of reality. The precision and clarity with which the Lissitzky articulates these principles make it a fundamental and timeless piece within the vast panorama of modern art.
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