Description
Kazimir Malevich, the pioneer of suprematism, operates a complete transmutation of the pictorial plane in his work suprematist construction of 1915. This canvas, emblematic in his contribution to the avant -garde of the abstract art of the twentieth century, invites us to a deep meditation on the essence of art, stripping of any vestige of mimetic representation.
The composition is revealed as a geometric ballet of austere shapes, where squares, rectangles and lines converge and diverge into a space without horizons or recognizable coordinates of the tangible world. Geometric figures, implemented with almost scientific precision, overlap creating a subtle dynamism. These forms seem to float on an immaculate white background, a vacuum that becomes a purely conceptual universe.
As for the color, Malevich uses a contained but bold palette: red, blacks and ocher dominate the scene, contrasting dramatically with the white background. These colors are not simply decorative; In suprematism, color acquires formal autonomy, revealing Malevich's concern to capture the absolute and the infinite in two -dimensionality. The choice of red, vibrant and energetic, contrasts potently with the austerity of black and neutrality of the ocher, creating a visual tension that emphasizes the hierarchy and movement of the elements within the composition.
It is important to note that in this work there are no characters in the traditional sense. The absence of human figures or any form of representation of everyday objects reiterates suprematist philosophy that seeks a pure and direct perception of formal and chromatic composition. Malevich advocates that art should refer only to itself, freeing themselves from the custom of telling stories or representing visible reality.
A less known, but important critical aspect of the work and movement in general, is the historical context of its creation. Supreme construction arises in a convulsive period: the Tsarist Russia is on the verge of revolution. In this climate, Malevich defies not only artistic traditions, but also the socio -political foundations of the time, advocating a visual language that reflects a new spiritual and conceptual order.
In the comparison, we could mention works of the same period, such as its black square revolutionary (1915), which marks the zenith of the suprematist movement, where it reduces painting to its most elementary expression. Supreme construction, on the other hand, considers a greater interaction of geometric shapes, proposing a dynamic dialogue between them, and expanding the Malevich research field beyond the monochromatic absolute.
In sum, Kazimir Malevich's suprematist construction is a crucial milestone in the evolution of abstract art. Malevich's insistence on the autonomy of art, where the purity of form and color structures a new reality, continues to resonate in contemporary thinking. Malevich offers us, not a window to the visible world, but a door to the universe of pure thought and direct perception, where art exists by and for itself.
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