Description
Kazimir Malevich, highlighted as one of the pioneers of abstract art, created in 1915 a work that deeply attracts attention both for its title and its execution: "Supremeism. Self -portrait in two dimensions." In this work, Malevich immerses us in the essence of suprematism, a current that he founded and seeks to transcend the limits of traditional representation to achieve a form of pure and authentic expression.
The work is a clear expression of the suprematist principles. Composed essentially of a white canvas on which geometric shapes are juxtaposed in primary and secondary tones, paint completely dispenses with any attempt at figurative representation. Instead of representing a recognizable image as a human face, Malevich offers us a set of carefully distributed abstract elements. In other words, Malevich's "self -portrait" is not his physique, but of his vision and creative spirit.
The use of color in "suprematism. Two -dimensional self -portrait" is limited but significant. We observe predominance of blacks and blacks, along with dynamic touches of red, blue and yellow. This chromatic contrast not only captures the viewer's attention but also underlines tension and harmony between forms. The choice of primary colors suggests a return to the basics, to the fundamental elements of visual perception.
The role of geometric shapes in this work is equally crucial. Squares, rectangles and circles are arranged so that they create a balance without losing dynamic tension. These forms seem to float freely on the canvas, a freedom that reflects the break with the traditional perspective and the search for a new form of artistic expression.
It is interesting to notice the creation date, 1915, a crucial year for both Malevich and for modern art in general. That year, Malevich first presented his concept of suprematism to the world in the exhibition "0.10" in St. Petersburg. This movement not only influenced contemporaries such as Lissitzky and Alexander Rodchenko, but also had a lasting impact on the development of abstract and modern art.
The "suprematism. Malevich's two -dimensions self -portrait" not only reflects the supreme philosophy, but also invites the viewer to rethink what a portrait is and how we can understand it from a more abstract and less literal perspective. In an era where art began to question its own borders, this work is presented as a synthesis of exploration and innovation.
In conclusion, Malevich's painting is not only a testimony of his creative genius and his revolutionary spirit, but also a work that invites a continuous dialogue about the nature of art and human perception. It is a void full of possibilities, a geometric and chromatic exploration that challenges conventional perception and invites us to contemplate beyond the obvious. Simplicity and complexity coexist in this piece, reaffirming the place of Malevich as one of the fundamental pillars of the abstract art of the twentieth century.
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