Description
The work "Supreme Elements - 1917" by Kazimir Malevich is one of the most emblematic representations of the suprematist movement, a style that revolutionized art abstracting it to its purest forms, concentrating on the creation of a new visual reality far from the representation of the world material. When observing this work, the distinctive characteristics of suprematism are immediately perceived: a composition of simple geometric figures arranged in an almost ethereal space, without depth or identifiable spatial context.
"Supreme elements" is presented with rectangular and square figures of various sizes and colors: black, yellow, blue and red. These forms seem to float and dance on the canvas in a kind of dynamic equilibrium. Malevich breaks with traditional pictorial logic by not providing a clear reference point, which causes a feeling of ungravation and potential movement in the viewer. This almost random provision does not follow the conventions of the Renaissance perspective, but is fervently adheres to the principles of abstraction.
The use of color in the work is particularly significant. Malevich does not resort to an extensive palette, but uses primary colors and black to underline the strength and simplicity of shapes. Each color seems to have its own visual weight and its well -defined place in the composition. White, which forms the background, is not merely empty, but represents infinity and absolute, providing an essential contrast that further enhances the solid colors of the figures. This relationship between figure and background imposes a visual tension that invites reflection on the nature of space and shape.
The disposition of the forms suggests a meticulous deliberation. Although at the first glance they could be interpreted as randomly arranged elements, a more detailed observation reveals a hidden structure of balance and harmony. There are no traditional characters or narrative in this work. Malevich eliminates any figurative or anecdotal reference to focus attention on shapes and colors as pure elements of expression.
A relevant aspect of this work is the total elimination of the representational in favor of the purely sensory and emotional. Malevich defends with "suprematist elements" the supremacy of pure sensation in art, where the artist and the spectator are in a space of direct perception, without narrative or symbolic intermediaries.
Through this painting, Malevich confronts us with a radically new vision of art. With a reflection on its historical context, we must remember that in 1917, the world was plunged into deep changes: the First World War and the Russian Revolution marked a turning point in history. The art of Malevich, and in particular its suprematism, can be interpreted as an answer to this turbulence, proposing a new way of seeing and understanding the world, an attempt to go beyond confusion and chaos through the purity of the Geometric shapes.
In summary, "Supreme elements - 1917" by Kazimir Malevich is not only a work of art, but a visual manifesto of a new era in artistic perception. When examining its composition, its use of color and its disdain for representation, an aesthetic philosophy that seeks to transcend the mundane is revealed to us. Malevich invites us to an introspective and sensory trip, a meditation on the very essence of art and existence.
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