Description
The year 1920 marks a milestone in the evolution of abstract art with the creation of the work "Supreme story about two squares" by Russian artist and architect Lissitzky. This work, singular in its conception and execution, is registered within the Supreme Movement, founded by Kazimir Malévich, of which Lissitzky was a fervent disciple and a significant contributor.
The work "Supreme story about two squares" is initially presented as a seemingly simple geometric composition, but loaded with a deep symbolism and a revolutionary intention. Dominated by a red square and a black square, the paint maintains a palette of minimalist colors that emphasizes the basic principle of suprematism: the supremacy of pure sensitivity over the forms of nature.
The use of these colors and shapes is fundamental in the visual language of Lissitzky, who opt for red and black to communicate concepts and emotions. In the suprematist iconography, the square is an essential figure, a primary element of aesthetics that in its multiple configurations acquires an almost mystical character. In this case, the contrast between living red and deep black can be interpreted as a duality of forces, a confrontation or coexistence of opposites, both vital in the dynamic narrative of the abstract.
The arrangement of the squares in the work, displaced in opposite diagonals, suggests movement and conflict, a struggle of ideas and concepts that transcends the merely visual and enters the philosophical. Lissitzky, faithful to suprematism, does not seek to represent the observable reality; Rather, his intention is to evoke a direct sensory and emotional experience through color and pure shape.
In the historical context, this work is at the end of the Russian civil war, a period of extreme social and political change. Lissitzky's art at this time is not only an aesthetic comment, but a proposal for radical transformation, a desire to build a new reality through a utopian vision of art. In this sense, "supreme story about two squares" can be read as a visual manifesto that advocates a new and ideal order.
Lissitzky, who was also an architect and graphic designer, transferred these ideas to other creative areas, contributing to the development of modern graphic design and the exhibition design. Contemporary works such as "the eloquent" or her PROUN series (new statement projects) also explore geometric and abstract concepts that seek to redirect the traditional perception of art and its social function.
In sum, "supreme story about two squares" is not simply an exploration of the form and color, but rather a bold statement of intentions, an incitement to see beyond conventional forms and to embrace the aesthetic and conceptual revolution that Lissitzky and his contemporaries persecuted. This work not only sets Lissitzky's position at the forefront of her time, but also continues to inspire artists and thinkers to consider the unlimited potential of art to transform perception and, ultimately, society.
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