Description
Kazimir Malevich, a prominent figure of avant -garde art, has been a transformative force in the world of visual arts of the twentieth century. His work "La Cruz Negra on a red oval" of 1921, also known as "Supremeism 2", is a solid testimony of his commitment to suprematism, a movement that he founded, and that is characterized by the use of geometric shapes Simple and flat colors to express pure perception without reference to objects of the natural world.
The painting, observing it carefully, revealed the bold use of basic geometric shapes that make up the nucleus of suprematism. "The black cross on a red oval" shows a composition that, in its apparent simplicity, manages to project a considerable visual and emotional complexity. The work presents a large black cross, predominantly horizontal but with diagonal touches, which seems to float on a white background. This use of the black color on the cross provides a powerful sensation of gravity and solemnity, at the same time that it is opposed to the oval form that underlies it, creating a dynamic game of tensions and balances.
The red oval, located just behind the black cross, adds an additional layer of meaning. The use of red here can be seen as both metaphysical and emotional reference, evoking sensations of vitality and urgency, while reminding us of the fragility of existence. The choice of red and black is, in itself, a bold chromatic statement that was frequently reflected in Malevich's supreme works, where primary colors are used to evoke the most pure and fundamental emotions.
The absence of figurative elements in this work invites us to deep meditation on forms and colors for themselves, eliminating the distraction of the tangible and allowing us a clear approach to the abstract and the essential. There are no characters, there are no explicit narratives; Only pure and color geometry, which manage to speak a universal language of emotion and perception.
Supremeism, as artistic philosophy, emphasizes the supremacy of pure sensitivity in art, moving away from objective and figurative reality. Malevich pioneered this ideology with his iconic "black square" of 1915, a work that broke with traditional artistic conventions and opened the way for future explorations in abstract art. In "The black cross on a red oval", Malevich refines and expands these principles, developing an even more focused composition on the interaction of shapes and colors.
It is also crucial to place this work within the historical and cultural context of the post-revolutionary Russia, where Malevich and its contemporaries sought to transform visual language to reflect the social and political changes of the time. Supremeism, with its emphasis on abstraction and universality of geometric shapes, was seen as a means to transcend cultural and political barriers, proposing a new visual language for a new society.
In conclusion, "the black cross on a red oval" is not simply an aesthetically attractive composition, but a piece that invites a deep reflection on the nature of art and perception. Malevich, through this work, offers us a window to its vision of a world where abstract shapes and color become the true protagonists, moving away from the known object and approaching a pure and elementary appreciation of the visual. This piece, in its apparent simplicity, is actually a rich field of study for those interested in the radical transformation that art experienced in the twentieth century.
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