Description
The Lissitzky, one of the most prominent figures of the Supreme Movement, offers us in its "Illustration of 'Supremamatic Story on two squares' - 1920", a work that encapsulates the very essence of this revolutionary current. The painting, which serves as a visual accompaniment to the book "Supreme story about two squares, is an expression of the synthesis of art and ideology, where geometry and color become vehicles of avant -garde thought.
Composition is a masterpiece of pure abstraction. Two squares, one red and one black dominate the scene, as opposed to a white background. The choice of neutral fund is not accidental; White acts here as a space of infinite possibilities, a canvas in which the confrontation and dynamism of geometric shapes are projected. The two squares are not simple abstract figures; They represent ideas, tension forces that invite the viewer to reflect on the relationship between structure and chaos, order and revolution.
The red, vibrant and energetic square seems in constant movement, breaking into the surface with a vitality that defies the stillness of the blank space. In contrast, the black square emanates a sensation of stability and weight, almost as if it were a structure anchored in the composition. This chromatic interaction is fundamental, since red and black not only have a shocking visual presence, but also symbolize the duality of forces in action: creation and destruction, progress and resistance.
The Lissitzky was a tireless innovative, and this work is no exception. It uses deceptive simplicity, in which each element seems thoroughly calculated to cause a visceral reaction. There are no characters in the conventional sense, but the squares themselves acquire an almost anthropomorphic personality, involved in a narrative of conflict and relationship that exceeds the mere visual plane.
This duality of the two squares can be interpreted in multiple ways, aligning with the objective of Lissitzky to allow varied and rich interpretations. Ambiguity here is not a lack of definition; Rather, it is an open invitation to introspection and contemplation on the fundamental principles of human and social interaction and interaction.
In the context of suprematism, Lissitzky stands out not only for its technical mastery, but also for its philosophical commitment to movement. Influenced by his mentor Kazimir Malevich, Lissitzky expands the limits of suprematism, instilling a narrative and a mission that goes beyond the purely aesthetic. "Illustration of 'Supreme story about two squares'" thus becomes a visual manifesto, a testament of art capacity to transform and challenge perceptions.
The work is located in a tradition of experimentation that is also reflected in other contemporary pieces of Lissitzky, such as its "Prouns" (projects for the affirmation of the new), where explores three -dimensional geometric forms in indeterminate spaces, creating a bridge between painting and architecture .
Ultimately, "Illustration of 'Supreme story about two squares' - 1920" of El Lissitzky is a work that invites an incessant dialogue. Each observation reveals new layers of meanings, and each interpretation becomes part of the rich tapeza of art history. In its apparent simplicity, Lissitzky manages to capture the complexity of the universe, proposing, once again, that reality itself can be redefined through the lens of suprematist art.
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