Description
On the threshold of the twentieth century, with the agitation of the artistic avant -garde finding their epicenter in Europe, the unwavering figure of El Lissitzky, a titan of suprematism and an innovative of constructivism arises. His work "Proun 23 - No.6 - 1919" is standing as an enigmatic testimony of his intrepid exploration of new artistic dimensions. In this piece, the Lissitzky invites us to a visual and cerebral experience, where the rules of reality are reformulated.
"Proun", a term coined by Lissitzky himself, is the acronym for "project for the statement of the new" ("Proekt Utverzhdeniya Novogo" in Russian). These works are not mere paintings; They are two -dimensional architectural spaces that seek to transcend conventional representation. The "Proun" series is a manifestation of its search for a synthesis between painting and architecture.
In "Proun 23 - No.6 - 1919", the absence of human figures makes it clear that the purpose is to invite the viewer to mentally wanden for an abstract landscape. The composition is dominated by implacable geometric rigor. Straight lines and curves, flat and precise figures coexist in a delicate balance that seems to challenge traditional gravity and perspective. This piece, in particular, uses a predominantly white background that serves as an infinite canvas on which shapes in black, yellow and red are suspended.
We observe an intricate dialogue between the black lines and the color planes. The straight lines in black, intersected by acute angles and soft curves, create a sense of movement and tension. The yellow and red planes act as focal points that capture the look and direct it through the composition. There are no shadows, or intention to emulate the three -dimensionality of reality; Instead, there is a sublime and deliberate plain that reminds us that we are contemplating a parallel, purely conceptual world.
The use of color is effective and calculated. The yellow, symbol of energy and vitality, contrasts with black, whose solidity and visual weight anchor the composition. Red, to a lesser extent, introduces additional dynamism, breaking the possible monotony and guiding the eye to a constant trip through the surface of the work.
The Lissitzky, influenced by Kazimir Malévich and his suprematism, was not content with a simple acceptance of geometric shapes. He sought, through his "Proun", a break with the traditional notions of space and time in art. His work can be considered a bridge between painting and architecture, a visionary proposal that prefigured many of the innovations of modern and contemporary art.
The work "Proun 23 - No.6 - 1919" is not only an aesthetic exercise, but an intellectual challenge. When contemplating it, we are urged to reflect on the nature of form and space, on how we perceive the world and what the structures that make it mean. Thus, the Lissitzky not only creates art, but builds an autonomous universe where the spectators, which architects of their imagination, are invited to explore and redefine their perception of reality.
In short, "Proun 23 - No.6 - 1919" is a clear example of the artistic genius and the innovative vision of El Lissitzky, a work that continues to resonate in the studies and galleries of contemporary art, reminding us of the infinite capacity of art to reinvent yourself and challenge our understanding of space and form.
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