Description
The canvas "four squares 1915", made by Kazimir Malevich, is a forceful manifestation of the suprematist movement, an artistic current that Malevich founded and that marked a milestone in the abstraction of art at the beginning of the 20th century. In this work, simplicity and geometric purity become protagonists, eliminating any allusion to the figurative representation that art had dominated until then.
"Four squares 1915" presents, as its title indicates, four quadrilaterals strategically located on a white background. Two of them are black, one is painted in blue and the last one, in an earthy tone. The disposition of these geometric figures seems randomly, but when observing more carefully, a deliberate tension and balance is perceived. The rectangles do not overlap completely, although two of them do it partially, which adds an internal dynamic to the work. The forms are not perfectly aligned, which contributes to the feeling of movement and a visually three -dimensional space.
Malevich said that the supremacy of pure feeling in art, without the interference of the target world, was the basis of its suprematist theory. This canvas is an exact translation of those postulates; Looking for "four squares", the viewer does not seek recognizable figures, but faces an experience of pure contemplation and perception, where color and shape are the only actors.
Chromatic use is limited but effective. Black, a color that is often associated with the absence of light and a forceful vacuum, is confronted here with blue, which can suggest infinity or depth. The earthy rectangle, a less common inclusion in the Supreme Palette of Malevich, provides a more tangible connection with materiality and earth. The combination of these colors on a white background that symbolizes nothing or infinity, perfectly frames the artist's purpose of freeing the art of loading direct representation.
The radicality of this piece does not reside in its complexity but in its audacity to strip the art of any conventional narrative content. Malevich, in his commitment to the geometric essence of art, invites a reflection on the perception and relationship of the spectator with the artistic object. The work does not tell a story in traditional terms, but offers an intense experience about the relationship between space, forms and emptiness.
To fully understand "four squares", it is essential to place it in the broadest context of Malevich's work and suprematism. Movement arising from the Russian avant -garde of the early twentieth century, is conceived as a total break with the art of socialist realism and other forms of figurative art. paintings as "painting Black on white background "of 1915, prior to" four squares ", feel the foundations of this visual revolution, promoting an art form that does not try to reflect the external reality, but to create a new reality through pure and basic forms .
"Four squares 1915" is, therefore, a key work in understanding not only of suprematism but of the evolution of abstract art in general. The representation of simple geometric forms at a level of deep aesthetic consideration, marks a before and after in the way in which artists and the public perceive the purpose of art. Malevich not only painted a painting; He offered a visual philosophical proposal on the ability of the art to transform and transcend.
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