Description
Kazimir Malevich, one of the undisputed pioneers of abstract art, revolutionized the world of art with its innovative style known as suprematism. In his work "Supremeism. Two -dimensional self -portrait - 1915" (Suprematism. Dimensional Two Self Portrait - 1915), the foundations of this movement are clearly perceived and its principles applied masterfully are observed.
The first thing that attracts attention in this painting is the total absence of recognizable figures or forms. There is no "character" in the traditional sense of the term, which can be paradoxical given the usual connotation of a self -portrait. However, this work offers us a much more abstract and conceptual profile of the artist himself. Malevich is stripped of any conventional figurative representation and presents a composition of simple geometric shapes and colors used intentionally and deliberately.
The paint, with a widely predominant white background, exhibits a series of rectangles and squares in different sizes and orientations. The forms are arranged in various positions on the canvas, challenging the symmetry that one could expect in a self -portrait, and creating a dynamic dialogue between the lines and the spaces. The color plays a crucial role in the composition: tones of black, blue, red and yellow give life to the geometric shapes that seem to float on the austere background.
This radical approach in the lines and polygons is characteristic of suprematism, an artistic philosophy that Malevich formalized and published in 1915, the same year of creation of this work. In the principles of suprematism, Malevich aims to seek the supremacy of pure sensitivity in art, completely disconnecting the representative object and focusing on spiritual expression through abstract forms and pure colors.
These ideas are clearly evident in "suprematism. Two -dimensional self -portrait - 1915", a work that reflects Malevich's tireless search for the creation of a new pictorial reality. When contemplating this piece, one can feel the artist's deep connection with his theoretical principles and his courage to abandon the traditional forms of the portrait to explore an unpublished and radically innovative artistic dimension.
The work not only represents a high point in Malevich's trajectory, but also embodies the ideology of an avant -garde that sought to redefine the perception and function of art in society. This abstract "self -portrait" transcends the artist's physical self -image and is projected as a visual manifesto of his convictions and his deep reflection on art and spirituality.
Thus, "suprematism. Two -dimensional self -portrait - 1915" It is not only an emblematic piece of Kazimir Malevich's career, but also a testimony of its immense influence in avant -garde and in the evolution of abstract art. Malevich invites us, through this work, to contemplate art and existence from a completely new perspective, through the eyes of pure sensitivity and exploration without limits.
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