Description
In the vast and enigmatic world of abstract art, few names resonate with the strength and radical innovation of Kazimir Malevich. His work "Supremeism - 1915" is an eloquent testimony of his artistic and philosophical vision, a canvas where geometric elements and flat colors are combined in absolute harmony, challenging the aesthetic conventions of his time and consolidating suprematism as a milestone in The history of modern art.
In "suprematism - 1915", we face a composition that unfolds as a symphony of floating geometric shapes on an immaculate white background. Malevich, when betting on the purest abstraction, dispenses with any figurative or narrative reference, taking the viewer to a land where visual content is reduced to the essentials: lines, shapes and colors. This painting perfectly encapsulates the precepts of suprematism, a movement that Malevich himself founded and postulates the supremacy of pure sensitivity in art.
At first glance, what stands out in "suprematism - 1915" is an elegant and austere disposition of rectangles and squares in dark tones dispersed at oblique angles, each organizing in a precarious but precise state of balance but precise. The apparent asymmetry of the geometric shapes gives a visual dynamic that is perceived as floating, lacking in gravity, which enhances the sensation of movement and depth despite the two -dimensionality of the support.
The predominant colors in this work are black and gray, arranged on the white background. The chromatic choice is not fortuitous; Black, in contrast to the white background, creates an enveloping and contemplative space. Monochromy and technical simplicity are used to trigger pure and elementary perception, detaching any objective interpretation and anchoring visual experience in the most fundamental of pictorial language.
The white background of this painting keeps a deep meaning in the context of suprematism. For Malevich, the white color symbolized the "empty", a metaphysical concept that alludes to infinity, to the unlimited space where forms can exist free of earthly ties. In "suprematism - 1915", this emptiness is not absence, but a full field of potential where floating forms indicate a universe of infinite possibility.
There are no characters in this composition; Human figures have been expelled from the canvas in favor of a more abstract and spiritual exploration. Instead of resorting to recognizable subjects, Malevich invites the observer to transcend the material through the contemplation of intrinsic relationships between shape and color. Depth perception becomes a matter of abstract relationships, where the interaction of geometric shapes produces an almost cosmic experience.
"Supremeism - 1915" is, in essence, a declaration of principles by Malevich. By undertaking this revolutionary path towards total abstraction, he broke with the prevailing artistic traditions, offering a new way of understanding and experiencing art. This work not only encapsulates the ideals of suprematism, but also anticipates many of the explorations that the art of the twentieth century would have to travel, from constructivism to minimalism.
In conclusion, this work is a portal towards deep meditation on the essence of art and perception. Malevich, with its radical approach, invites us to reexamine our relationship with visuality and form, stripping the art of all its iconographic load to take us to a kingdom of pure intuition and aesthetic essence. "Suprematism - 1915" It stands as well as a fundamental piece to understand not only the trajectory of its author, but also the directions of contemporary art in its constant search for authenticity and transcendence.
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