Description
In the vast and condemned firmament of avant -garde art of the twentieth century, Kazimir Malevich emerges as a titan. His work, "suprematism" (suprematic), represents not only a milestone in his artistic career, but also a philosophical statement about the nature of art. Malevich, as is well known, led the suprematist movement, an avant -garde that advocated the supremacy of pure sensitivity in pictorial art above the naturalistic and figurative representation.
When contemplating "suprematism," we are immediately attracted to a geometric and chromatic abstraction that challenges itself in its simplicity and, at the same time, in its sophistication. Painting is a testimony of Malevich's obsession for basic shapes and primary colors. In this work, the forms float in an indefinite space and strip off any objective reference, inviting us to confront the existence of an autonomous reality on the canvas.
The color plays a fundamental role in the composition of "suprematism." The limited palette, typical of Malevich's work in the 1910s, is mainly composed of white, red, red, green and blue. These colors are not mixed in a traditional way, but are presented as solid blocks, defining and redefining the shapes and relationships between them. The deliberate choice of a reduced palette and the absence of subjective nuances contribute to the idea of purity and an essential truth that Malevich pursued.
The visual structure of "suprematism" is, in its apparent simplicity, dazzling. The canvas is populated by rectangle, lines and quadrilateral geometric shapes that are not perceived as static elements, but rather as parts of a dynamic dialogue. These elements seem to levitate and move in an unconventional space, breaking with the classical perspective and Renaissance three -dimensionality. This visual dynamic symbolizes the suprematist ethos, where shapes and colors exist as absolute in an autonomous universe, released from any representational load.
Unlike other artistic styles, we do not find characters or narratives here to connect with the tangible world. There is no landscape, portrait, no anecdotal scene. The absence of figuration reinforces Malevich's idea that painting must be a celebration of the form and color in its purest state, without the need to reference the external world. This radical approach places it in direct opposition to contemporary movements that still fought with the transition from the figurative towards the abstract.
Malevich's suprematist vision was not merely a technical or stylistic innovation, but a conceptual revolution. In the Supreme Manifesto, Malevich said: "Supremeism has built abstract forms beyond our customs and conventions. It is beyond the perception of our specific mind." In "suprematism," this aspiration materializes in a universe where the tension and harmony of geometric shapes and colors create a resonance that goes beyond the confines of the canvas.
Although "suprematism" lacks the immediate visual popularity of more figurative works, its meaning endures as a symbol of rupture and renewal. Malevich not only painted a series of geometric shapes; He entertaining a new perception, an infinite open window. Thus, "suprematism" remains a seminal work that challenges, inspires and continually redefines the very essence of art.
In conclusion, "supreme" of Kazimir Malevich offers a deep visual and philosophical experience. Each shape and each color are an invitation to question conventions, to explore the unexplored and to accept the supremacy of pure sensitivity. It is a work that continues to encourage modern artists and observers to find and find the absolute in the abstract.
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