Description
Contemplating "suprematism - 1915" by Kazimir Malevich, one is immediately taken to the dawn of an aesthetic revolution that challenged and redefined the borders of art in the twentieth century. This work is a paradigmatic example of suprematism, an artistic movement founded by Malevich in 1913. The essence of suprematism lies in geometric purity and in the use of color as an autonomous and self -sufficient element, free of the need to represent objects of the real world.
In "Supremeism - 1915," Malevich presents a symphony of abstract forms, where the composition stands out for its apparent simplicity and its underlying complexity. In the work, a series of rectangles and squares, all arranged in different angles and colors, seem to float on a white background. The color palette, although restricted, is extremely effective: the tones of black, blue, red and yellow dominate the pictorial space, creating a vibrant and dynamic contrast. This use of color and geometry is not accidental; Malevich seeks to transcend the limitations of the three -dimensional representation of the object, to explore a fourth spiritual and universal dimension.
It should be noted that in this painting there is no presence of characters or figurative elements. This deliberate absence is a manifesto in itself; For Malevich, art should not serve as a mirror of tangible reality, but as a window towards a more pure and high dimension. His approach rejects the idea of mimesis, which has dominated much of Western art, to embrace an aesthetic that stands on the foundations of visual language itself.
The remarkable thing about "suprematism - 1915" is how geometric shapes seem to be in constant movement, overlapping one other asymmetrically, creating a feeling of dynamism and fluidity. This asymmetric disposition breaks with the Renaissance tradition of perspective and symmetry, inviting the viewer to a totally different visual and cognitive experience. The surface of the work thus becomes an exploration ground where the observer's gaze is conducted through a visual equilibrium and tension game.
In the historical context, it is important to remember that Malevich creates this work in the midst of a prerevolutionary Russia, where fervor for change and innovation was palpable. Malevich's suprematism can be seen, in a way, as a metaphor of convulsive times, a break with the past and a daring step towards a future full of possibilities and utopias. It is interesting how this rejection of the figurative and the adoption of abstract forms are also reflected in other contemporary movements, such as constructivism and futurism, although with different objectives and nuances.
By completing the contemplation of "Suprematism - 1915," one can only marvel at the audacity and innovation of Kazimir Malevich. His work is not only a milestone in the history of abstract art, but also a proclamation of creative freedom and the infinite capacity of art to reinvent himself. Thus, "suprematism - 1915" continues to resonate in contemporary aesthetic consciousness, challenging our perceptions and opening new horizons in visual experience.
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