Description
The "Illustration of the Lissitzky for 'The chicken that wanted a combs'" 1919 offers a fascinating gun to the work of the visionary Russian artist El Lissitzky. This work, although possibly more modest in scale and objective than its iconic architectural and suprematist projects, encapsulates innovation and playful spirit that characterize their career.
The composition is a clear testimony of its mastery in geometric simplification and the use of negative space. In the visual center of the work, we observe a structure that remembers the figure of a chicken, outlined with precise geometric shapes. The use of triangles, rectangles and curved lines is amalgam to form a semi -re -abstract figure at the same time. The work not only evokes the silhouette of a chicken, but also causes reflection on the ability of art to reinterpret and synthesize natural forms from basic geometric elements.
The color plays a crucial role in this illustration. The predominant tones are blacks, red and beige, applied with a planimetry and uniformity that emphasizes the purity of forms. The use of red within the context of the chicken is particularly striking, not only because of its visual intensification, but by the historically symbolic connotation of red color in Russian art of the early twentieth century, linked to revolutionary fervor and the new era of constructivism .
Although at first glance it may seem a simple work, it is actually a deeply calculated design. The absence of unnecessary ornaments and the clarity of the lines reflect the influence of suprematism, a movement that considerably affected the Lissitzky, where it is committed to the supremacy of pure geometric shapes and the limited but effective use of colors.
In addition, the choice of the title and the theme of the work a chicken that wants a comb suggests an air of child narrative, which refers us to the versatility of the Lissitzky not only as an artist, but also as an illustrator of children's books . His work in the field of children's literature reflects his commitment to the education and accessibility of art at all ages and to different aspects of everyday life.
The Lissitzky was a key figure at the crossroads of the Russian artistic tradition with the avant -garde of Western Europe. He collaborated closely with other suprematism giants such as Kazimir Malevich and was a fervent defender of constructivism. Through both small and large works, he always tried to break with traditional three -dimensionality and seek new aesthetic representations.
In conclusion, the "Illustration of the Lissitzky for 'La Gallina who wanted a comb'" may seem a simple work to the casual observer, but in his geometric sobriety and his color game, he beats the heart of a true pioneer of modern art. This specific work stands out not only for its artistic quality but also for its unique character in the broader corpus of El Lissitzky's work, revealing another face of its multidimensional career and offering an accessible and imaginative window to the vast world of geometric abstraction and The visual narrative.
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