Description
Kazimir Malevich, one of the key figures of Russian avant -garde, created in 1917 the exorbitant "Supreme Painting", a work that encapsulates the intensity and purity of the supreme vision that he founded. Supreme, this formidable movement that emerges in the early twentieth century, is characterized by its unwavering effort in geometric abstraction, redirecting attention from the material world to the pure field of sensory perception.
The "Supreme Painting - 1917" is a master demonstration of Malevich's intentions to transcend traditional representation and enter the domain of the absolute and spiritual through basic shapes and colors. In this work, simplified geometric shapes are observed that float on a white canvas, emulating a feeling of freedom and movement in space. The geometry used, characterized by rectangles and lines, is displayed without apparent relation to the horizon, disarticulating any specific reference to concrete reality.
The colors have a restricted but effective palette, with the prominent use of black, reddish and blue. The use of white as a background is not a whim but an intentional choice that enhances the perception of vacuum and causes geometric shapes to feel suspended and ingrained. The colors and their disposition respond to an internal logic of the painting more than a traditional narrative or descriptive construction. This absence of figure and narrative places the viewer in front of a contemplative instance, where the shape and color act as the only mediators of meaning.
Of particular interest is the structure in which geometric shapes seem to be arranged in a dynamic balance. Despite the apparent simplicity, a tension and a game of forces are perceived between the forms and how they interact with the white space. This treatment of the elements reflects Malevich's philosophy about suprematism: the supremacy of pure sensitivity about objective representation.
It has been widely discussed how these compositions not only reflect a radical break with the artistic forms of the past but can also be interpreted as a visual representation of the transformation and optimism towards the future promoted during their revolutionary years. Malevich tries, through these purely abstract forms, invoke an almost cosmic, alienating and, at the same time, deeply intimate experience.
The creation of this work is in a crucial period of the history of art and Russian politics; 1917, the year of the October Revolution. Malevich's art is undoubtedly reactive to its context, resonating with the tumultuous changes of society. However, the artist also worries about transcending the merely social and political, appealing to something more universal and timeless through his visual innovations.
In "Supreme Painting - 1917", Malevich's vision of an art that transcends the object and puts the discovery of the essence of the human visual experience is manifested in each stroke and in each color choice. Its legacy is not only a collection of geometric shapes, but an invitation to reconsider the limits and purpose of art itself. It may be this ability to invocate and reflection incitement that makes this work an unavoidable milestone in the history of modern art.
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