Description
"Quadrilateral and circle", painted in 1915 by the pioneer of suprematism Kazimir Malevich, stands as a fundamental work that underlines the radicality and aesthetic simplicity that defined this artistic movement. In this composition, Malevich reduces paint to its purest essence: basic geometric shapes arranged on a smooth and uniform background.
In "quadrilateral and circle" we observe a quadrilateral and a circle overlap and located in a disposition that seems to challenge any notion of traditional perspective. Both figures, executed with almost mechanical precision, stand out on a background that we could perceive as a vacuum, underlining the importance of the forms themselves instead of the context in which they are found. This background, of a dark and uniform color, allows geometric shapes to contrast in a dramatic way, immediately capturing the viewer's attention.
Malevich, through this work, eliminates any vestige of objective representation and invites us to contemplate the purity of geometric shapes. This radical approach responds to its suprematist manifesto, which seeks to transcend the limitations of traditional art focused on mimesis and figurative representation. The absence of characters in this work further emphasizes Malevich's intention to concentrate on absolute and universal, far from temporality and particular contexts.
The choice of color in "quadrilateral and circle" also deserves attention. The use of contrasting tones between the quadrilateral and the circle not only creates an internal dialogue between the forms, but also establishes a visual tension that forces the viewer to reflect on the relationship between them. The color economy and the form demonstrate a sophisticated understanding of the composition and show Malevich's ability to transmit complex philosophical ideas through the simplest means.
To understand this work, it is essential to place it in the context of the development of suprematism. Inaugurated by Malevich in 1915, this movement sought to achieve a supremacy of pure sensitivity in art, beyond the perception of the material world. "Quadrilateral and circle" can be considered as a manifestation of this philosophy, where painting is no longer a window to the outside world, but an autonomous object that reflects a new, purely sensory reality.
Malevich's minimalist approach feels almost revolutionary compared to the trends of his time, which were still debated between impressionism and cubism. Malevich breaks with these currents and shows us that art can be an expression of the absolute, where each form and color is not a means for something else, but an end in itself.
Thus, "quadrilateral and circle" remains a crucial piece not only in the Malevich corpus, but also in the history of modernist art. It invites us to reconsider the essence of painting, to see not what is represented, but what is felt through the interaction of shapes and colors at its purest and most elementary level.
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