Description
Kazimir Malevich, a central figure in the development of the abstract art of the twentieth century, created in 1916 his work "suprematism". This piece embodies the essential principles of suprematism, a movement that he founded and that seeks to free the artistic creation of any figurative representation to focus on the purity of shape and color.
When observing "suprematism - 1916", Malevich's inclination towards geometric simplicity is evident. The composition presents a series of rectangular figures, square and lines arranged in a deliberate but also dynamic balance. This set of forms seems to float and move within the pictorial field, creating a sense of depth and movement despite the inherent flatness of the painting. There is a clear absence of recognizable characters or elements that connect the work with the tangible world.
Color plays a crucial role in this work. Malevich uses a restricted palette, dominated by contrasting tones of black, white, yellow and red. These colors not only stand out for their intensity and purity, but also interact harmoniously and dissonantly through shapes, establishing a dialogue that transcends the barriers of traditional visual language. The choice of color and disposition of the figures suggest an almost musical order, where each element is a note that contributes to the total geometric symphony.
This approach to the naked shape and color reflects Malevich's search for a universal and timeless artistic language. His intention was to challenge conventional perception and bring the viewer to a pure aesthetic experience, devoid of concrete associations. "Supremeism - 1916" offers a window towards an area where the essence of visual perception is the only protagonist, inviting an introspective and meditative contemplation.
Supremeism, as movement, grew in a time of great social and political transformations, and Malevich, with its radical inquiry about the possibilities of art, sought a way to transcend these changing realities. By eliminating references to objective reality, their works become manifestations of a spiritual ideal, a top of abstract and philosophical thinking. Malevich's art does not seek to be a reflection of the outside world, but an introspection towards the unknown dimensions of the human spirit and the infinite possibilities of creativity.
"Supremeism - 1916" is a sublime expression of Malevich's commitment to experimentation and rupture of conventions. His work remains an eloquent testimony of how art can transcend the limits of the material to reach profound perception and sensation. At the end of the inspection of this piece, one can only admire the audacity and vision of an artist who, more than a century ago, ventured into unexplored land, challenging his audience to contemplate the beauty in his purest and most essential state .
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