Description
In the fascinating trajectory of the abstract art of the twentieth century, Kazimir Malevich stands as one of the fundamental pillars, especially through his contribution to suprematism. It is in this context that the work "the movement of the suprematist square - that constitutes a new supreme dihedral element" of 1927, a piece that explores the depths of abstract geometric language with unique precision and visual purity.
The composition of this work is, in essence, a meditation on the square and its relationship with the surrounding space. The central elements are a series of rectangular and square forms arranged in several angles, providing a sensation of dynamism and movement, which seems to transcend the two -dimensional plane. The black square, one of the most recurring and emblematic elements of the Malevich repertoire, takes a prominent role here when entering into dialogue with other rectangles of variable colors, including shades of white, gray and red. This interaction of shapes and colors causes a feeling of tension and simultaneous balance, characteristic of suprematism.
The use of color in this work is deliberate and calculated. Malevich uses a restricted, but powerful palette, which underlines the interaction between geometric shapes. Black, often interpreted as a symbol of nothing or infinity, has a preeminent role, contrasting with white, which can be understood as a space of unlimited potential. Red, on the other hand, adds a note of energy and conflict, establishing a dialectical relationship between the different forms.
The absence of human figures or naturalistic representations is remarkable. This omission is not accidental, but corresponds to the very essence of suprematism, which seeks to part with the earthly and the material to achieve a pure reality, free of conventional associations. The focus on pure geometric shapes and basic colors invites the viewer to a more introspective and philosophical contemplation, an experience that transcends the visual to approach the spiritual.
The work also reflects Malevich's interest in three -dimensional space. Although it is presented in a two -dimensional plane, the disposition and overlap of the forms suggest a depth and a volume that hint a third dimension. This dielectic quality of dihedral suprematism is a distinctive element of its late phase, where Malevich expands its visual vocabulary to incorporate more complex and abstract concepts.
"The movement of the suprematist square" is not only a key work in Malevich's repertoire, but also constitutes a crucial chapter in the evolution of abstract art. His ability to communicate deep ideas through a media economy is testimony to Malevich's genius and his revolutionary art vision. This painting, with its sophisticated interaction of shapes and colors, remains an open invitation to explore the limits of perception and human imagination.
The relevance of this work in the context of suprematism and the history of modern art cannot be underestimated. When contemplating "the movement of the suprematist square", one cannot avoid feeling a deep respect for an artist who, through a simple grid of shapes and colors, invites us to reimagine the fundamental of our visual and spiritual experience.
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