Description
Kazimir Malevich, a cardinal figure of the avant -garde art of the twentieth century, offers us through "suprematism - 1915" a work that is, at the same time, a true representation of the movement he founded and a powerful artistic statement of radical principles . This painting is a testimony of Malevich's deep commitment to geometric abstraction and purification of all superfluous elements of figurative art.
When observing "Supremeism - 1915", one faces an austere composition in its apparent simplicity, although vibrant in its visual and conceptual resonance. Located on a white background, the work presents several geometric shapes: rectangles and squares that float in an indefinite space, evoking a feeling of movement and dynamism. These figures, predominantly in tones of black, red and blue, are carefully arranged in a balance that suggests a kind of cosmic gravity or a nuclear structure.
Color plays a central role in this work. Malevich uses a limited but expressive spectrum, where white is not considered merely an empty background but an active component that interacts with colored shapes. Red and black colors are especially significant since, in the context of suprematism, they symbolize not only visual elements but also philosophical concepts. Red, vibrant and passionate, could be interpreted as energy and life; While black, solid and enigmatic, could evoke the absolute nothing or the culmination of an idea.
"Supremeism - 1915" also stands out for its rejection of traditional representation, lacking recognizable characters or figures. This distancing from the mimetic representation of the real world invites the viewer to a new form of perception. Malevich does not want to represent the visible world, but to create a pure visual experience where shapes and colors acquire an autonomous meaning.
Supremeism, as Malevich defined it, is not only an artistic style, but a philosophy. In his manifesto, "Cubism and futurism to suprematism: the new pictorial realism," Malevich argues that suprematism is the "supremacy of pure sensitivity" in visual arts. Simple geometric shapes and pure colors are not mere aesthetic choices, but vehicles of a direct and fundamental experience of reality.
Malevich claimed to have reached "zero of form", looking for the very essence of art. In this sense, the painting "supreme - 1915" can be understood as a fragment of a broader utopic vision, where art is freed from material restrictions and becomes a manifestation of the purity of the human spirit.
Looking towards the legacy of this work and its impact on the development of modern art, "suprematism - 1915" not only establishes Malevich as a pioneer of abstract art, but also clarifies its influence on subsequent movements such as constructivism and painting not -Objective. Ultimately, the work challenges the spectator to abandon visual conventions and participate in a deeper dialogue about the nature of art and perception.
Thus, when contemplating "suprematism - 1915", we find not only a work of great beauty and sophistication, but also a canvas that encapsulates revolutionary ideas about what art can and should be. Malevich invites us to an introspective trip towards the essential, towards the pure perception that transcends the visible and connects us with the transcendental.
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