Description
The art of the early twentieth century is characterized by a radical rupture with previous traditions, a desire to explore new ways to see and represent the world. In this context is the paint "Do not read - support bars - paper - pieces of wood - fold - paint - build - 1920" of El Lissitzky. This work not only reflects a contemporary aesthetic, but also encapsulates the revolutionary ideals of its time. The title of the work invites action and construction, instead of mere passive contemplation.
The Lissitzky, a key figure of Russian constructivism, was an innovative both in his theory and in his practice. His work is characterized by the use of basic geometric shapes, primary colors and a composition that rejects the illusionism of traditional art to embrace an expansion towards the third dimension, both real and perceptual.
In "Do not read - support bars - paper - pieces of wood - fold - paint - build - 1920", we can appreciate an intertwined of geometric figures that seem to float and coexist in an indefinite space. The elements of the work are distributed asymmetrically, attract the eye and maintain interest through a dynamic visual game. The tones of white, black, red and yellow predominate, emblematic colors of constructivism that unfold not only because of their visual impact but also because of their political symbolism. Red, for example, is often associated with revolution and social transformation.
The composition suggests a sense of movement and potential transformation. Bars and geometric shapes could be interpreted as structures under construction or in the process of assembly, reflecting the constructivist ideology that advocates art as a tool for social engineering. We do not find human figures in this work, which could be interpreted as an emphasis on the abstraction and universality of geometric forms about individuality and portrait.
The Lissitzky was a pioneer in the fusion of art and architecture, joining the pictorial space and the habitable space in a constructive synthesis. Your PROUNS series (projects for the affirmation of the new) represents this space fusion approach and "not reading - support bars - paper - pieces of wood - fold - paint - build - 1920" seems to derive directly from these experiments. The work seems to invite the viewer to interact with it not only visually but conceptually, considering construction and transformation as active processes.
The use of the text in the art of El Lissitzky is not incidental. Here, the words "do not read" remind viewers that the intention of work is practical and constructive, more than literary or purely visual. Instead of reading in a literary sense, we are urged to "read" the forms and colors as components of a new and dynamic visual language.
In summary, "not reading - support bars - paper - pieces of wood - fold - painting - building - 1920" is not only an emblematic work of constructivism, but also a tangible manifestation of the avant -garde ideology of El Lissitzky. The work invites an active reflection on construction and transformation, both artistic and social, and remains a testimony of the constant search to redefine the limits of art.
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