Description
The Lissitzky, a prominent figure of the Supreme Movement, offers us on the cover of the book "Supreme story about two squares" (1920) a synthesis of art that is within the limits of geometric abstraction and conceptual narration. In this work, the Lissitzky not only presents us with a book cover, but an artistic statement that reflects the ideals and aesthetics of the Russian avant -garde of the twentieth century.
At first glance, the composition is austere but powerfully shocking. The cover is dominated by the presence of two prominent geometric shapes: two squares, one red and one black, located in a white and empty space. Forms and color play fundamental roles; The red, dynamic and energetic square seems to invade or interact with the black square, which is more static and dark. This interaction is a central element of suprematism, which seeks to explore the fundamental relationships between shapes and colors, stripping them of any figurative reference.
The use of these colors is not fortuitous. Red, vibrant and associated with revolutionary energy, contrasts markedly with black, which can evoke solidity and weight, but also vacuum and unknown. This chromatic choice is in tune with the ideas of Kazimir Malévich, the founder of suprematism, who believed that art must transcend objective reality and connect directly to human sensitivity through the elementary. The Lissitzky, as a disciple of Malevich, takes these ideas to a new level, playing with the tension and balance between the two squares, suggesting a dynamism that transcends the simple two -dimensionality of the surface.
The placement of the texts is no less significant. In the upper part, the words "???" (Pronounced "Kaz") In Cyrillic, abbreviation of "Kazimir", the name of Malevich, and "??????????" (Suprematism), underline the direct connection with the theories of master. Below, in a strong and functional type of font, the title of the book "The Lissitzky" emerges, reaffirming both the authorship and the intellectual presence of the artist in the work.
The historical context in which this cover is also crucial for its understanding. The 1920s in Russia was a period of intense experimentation and reconfiguration of society, promoted by the Russian Revolution of 1917. In this context, Lissitzky uses its art as a tool for social transformation, proposing an alternative visual language that reflects The new values and aspirations of Soviet society.
In summary, the cover of the book "Supreme story about two squares" of El Lissitzky is a work that encapsulates the essence of suprematism: extreme simplification, the purity of forms, and the exploration of the essential in visual perception. Through the interaction between two simple squares and a precise handling of color and space, the Lissitzky invites us to reconsider our relationship with basic forms and, in a broader sense, with reality itself. This work is a clear testimony of his mastery and his ability to merge art and message in a perfect symbiosis.
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