Description
The ingenuity and inventiveness that characterize the work of El Lissitzky are in full exhibition in their painting "to all children - 1920" (to all The Children - 1920). This piece, at first sight simple, reveals a complexity of intentions and techniques that place it among the significant works of the avant -garde art of the twentieth century.
The composition of "to all children" does not follow a traditional figurative pattern, but is inscribed in the logic of suprematism, movement in which Lissitzky stood out as one of its most fervent defenders. Created by Kazimir Malévich, suprematism sought the pure sensitivity of artistic perception and undertook a radical break with objective representations. In this sense, Lissitzky takes the foundations of suprematism and applies them in his search for a visual language that aimed beyond the tangible.
In the painting we observe a confluence of geometric shapes that float in a white space. This composition evokes a sense of balance and dynamism. The elements are presented in a diagonal game that not only imply movement but also lead the viewer's gaze throughout the work. The colors - mainly black, red and several tones of gray - are distributed in rectangles and lines that overlap and complement in a kind of structural dance, suggesting an almost architectural construction within the abstract two -dimensionality of the canvas.
It is essential to note that the absence of recognizable characters or figures leaves the message of the work open to multiple interpretations. The choice of a limited chromatic field not only emphasizes the idea of simplification, but also aligns with the intention of the suprematism to transcend the merely visual and address the spiritual and the conceptual in art. Lissitzky, in his experimentation with space and form, invites an introspective reading of his work, a return to the basic elements of perception and feeling.
The title "To all children" suggests an apparent contradiction with the abstract and minimalist visual presentation. Children, generally associated with the concrete and the tangible world, are here dedicators of a formal language that at first glance may seem exotic or distant. However, this dedication can be understood as an invitation to creative innocence and discovery, essential attributes in youth. In the context of 1920, an era marked by political and social seizures in Europe, it is plausible that Lissitzky intended with this work to deliver a message of hope and future to the coming generations.
Therefore, "to all children - 1920" is affirmed as a fundamental piece to understand not only the artistic development of the Lissitzky, but also the lasting influence of suprematism and the search for universal and timeless language in art. Each line and each color in this work are not there by chance, but emphasize an intention of balance and exploration that continues to inspire and challenge the contemporary viewer.
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