Description
In the fertile amplitude of the avant -garde of the twentieth century, the work "oval - rectangle - square - curve - 1920" by Kazimir Malevich shines as an inescapable testimony of suprematism. This painting, Apparently simple in its use of geometric shapes, it is a deep meditation on the purity of art, stripped of any figurative or narrative reference. It is the very essence of the path that Malevich began to travel with his suprematist manifesto, where he cried out for a supremacy of pure sensitivity in art.
At first glance, the composition of this painting is misleading. Malevich presents a black oval, an elongated rectangle of a striking red color, a black square and a yellow curve. However, the disposition of these forms on the white background does not obey random; It is a careful choreography that gives rhythm and balance to the work. The oval and the rectangle cross, creating a visual tension that is relieved by the yellow curve, which introduces a fluid movement into the composition. The square, in contrast, provides a sensation of stability and balance.
The use of color in this paint also deserves particular attention. White background is not simply a vacuum, but a potential space in which geometric shapes float and dialogue with each other. The black oval and square contrasts with the vibrant red of the rectangle and yellow of the curve, creating a dynamism that, despite the apparent simplicity of the forms, is intense and vibrant. Malevich uses these colors deliberately, without shading or gradations, emphasizing flat paint and two -dimensionality of the canvas.
The choice of geometric forms is a clear continuation of the suprematist visual language that Malevich developed throughout his career. Through them, the artist seeks to transcend the representation of recognizable objects and subjects, proposing an art that is, above all, a direct and immediate sensory experience. In this work, there are no characters or scenes: only the pure and elementary relationship between shapes and colors. It is an abstraction in its purest form, where each element exists only for its intrinsic aesthetic value.
This radically abstract approach is part of a broader historical and artistic context. Around 1920, when Malevich created this work, the suprematism had already challenged and redefined the borders of art, departing from any form of mimesis and looking for the truth through pure visual perception. This painting can also be seen in dialogue with other contemporary works and movements, such as the Russian constructivism of artists such as Vladimir Tatlin, although Malevich remained distant from the utilitarian aspects of constructivism, defending the supremacy of spirit and abstraction in art.
"Oval - Rectangle - Square - Curve - 1920" is more than a mere collection of forms; It is a deep statement of artistic and philosophical intentions. Malevich, by stripping the art of every mundane reference, achieves a work that challenges the spectator to reconsider the way he perceives space, color and shape. The painting becomes a field of pure visual experimentation, emphasizing the creative freedom of the artist and the autonomy of art as a means of expression. In this composition, Malevich achieves a perfect balance between simplicity and depth, confirming its preeminent place in the history of modern art.
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