Description
The work "Tribuna Lenin 1920" of El Lissitzky is an iconic manifestation of Russian constructivism, a movement that intended to turn to the functionality and integration of art into everyday life and the technological revolution. The painting is not only a testimony of the revolutionary fervor of the time, but also a representation of the artist's technical skill and vision.
By observing "Lenin 1920", it can be noted that Lissitzky has reduced Lenin's human form to a simplified silhouette that rises in the composition. Instead of detailed facial or clothing features, the viewer finds a geometric shape that seeks to represent more the ideological symbolism of the Bolshevik leader than his physical identity. Lenin's image is presented as an architectural structure, rising with linearity and precision on a platform, symbolizing both the ascension of the new political order and Lenin's centrality in the communist narrative.
The use of color in the work is sober but decisive. Monochromatic tones with a virtuous job of red, black and white predominate. These colors are not randomly chosen; In the context of Russian art and revolutionary symbology, each color acquires a specific meaning. Red, of course, is directly associated with communism and revolution, standing out as the dominant tone that captures the viewer's attention and underlines the urgency and passion of the political message.
The composition of the painting is notoriously asymmetric, challenging the traditional perspective and promoting a dynamic structure that calls the movement. This provision reflects the influence of suprematism, of which Lissitzky was an outstanding exponent under the guidance of Kazimir Malevich. The perspective seems to refer to movement to the top, a wink to hope and progress.
The use made by the Lissitzky of simple geometric shapes - circles, lines, rectangles - is characteristic of constructivism. This emphasis on the form and structure stripped of ornaments is intended to underline the rationality and modernity of communist ideology. It is not a work designed to be simply admired for its beauty; It is a visual proclamation of a new social and political truth.
Another integral aspect to consider is the propaganda function of the work. Created at a time of intense revolutionary activity, "Lenin 1920" tribune "acts as a visual artifact destined to inspire and mobilize the rigid and mechanical construction of the gallery suggests the industrial future that the Bolsheviks promised and represents the material development of the Soviet state.
The Lissitzky is not only an artist, but also an architect, graphic designer and typographer who has proposed a synthesis between all these disciplines in his works. This confluence is reflected in the "Lenin 1920" gallery, where not only a painting is perceived, but an architectural design and a graphic manifesto.
In conclusion, the "Lenin 1920 Tribune" of El Lissitzky is not simply a portrait, but an intricate mixture of art, symbolism and propaganda. It is a work that, through its simplicity and geometric precision, encapsulates a transformative historical moment and the utopian hope of constructivism. The distillation of Lenin to its most elementary form and the calculated use of color and composition, both the emotional and intellectual load of art stand out in times of revolution.
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