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Dominica Lena

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Uruguayan (1902-1985)

This work belong to his geometric exploration that began in 1966 inspired by Russian Suprematism and the dutch Neoplasticism (works like Mondrians compositions). Costigliolo was the precursor of the non-figurative movement in Uruguay and contributed to this style with a vast series of works that are still being exhibited in various galleries around the world.

A sense of heaviness can be depicted in Rectángulos y cuadrados given the accumulation and amount of rectangles and squares that are distributed through the whole composition. The canvas acts as a box that contains and limits the expansion of the geometric shapes.

The yellow background also contributes to the idea of filling the composition. It is interrupted in some areas by a red asymmetric formation that seems to bring certain black shapes together.

All the black elongated rectangles touch each other subtly in their vertices which makes us understand that the artist placed and painted every shape consciously.

Three emptied squares seem to interrupt and bring a sense of surprise to the painting.

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Russian (1879-1935)

This work belongs to Suprematism, a movement Malevich created that was part of the Russian avant garde.

A sense of liberation and lightness can be depicted in this pre-revolutionary painting (Russian Revolution began in 1917).

He had a taste for air photography which can be seen in Suprematist composition in the airy arrangement of the rectangles surrounded by white space.

The rectangles are set towards a white background that Malevich generally referenced to as "the boundless space to the ideal." Gallery label from Inventing Abstraction, 1910–1925, December 23, 2012–April 15, 2013.

Big heavy black and yellow rectangles are predominant in the composition while thin delicate red and blue ones appear almost as details.

Except for the overlapping of the red rectangles with the yellow ones, the shapes float in the canvas without making contact with each other.

The presence of just primary colors backs up the ideals of the suprematist style.

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Russian Suprematism influenced artists around the world. This radical style of abstract compositions abandoned the figures of the real world in favor of simplifying them to the their essence. The application of this movements' ideas and visual aspects in a latin american context is what made me bring together Kazimir Malevich (Russia) and José Pedro Costigliolo (Uruguay).

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Costigliolo's pieces were heavily influenced by Malevich's work so many similarities appear:

The idea of suprematism as a way to elevate a depurate the objects from the real world to a "supreme" state, reducing it to its essential aspects.

Visual aspects:

-sharp geometrical shapes are seem to be floating through both canvases creating rhythm.

-most lines in both asymmetric compositions create oblique angles that give a sense of speed and throw the piece off balance.
-a dynamic, fast movement is given by the diagonals created in both pieces.
- emphasis in both works is focused on the center of the piece given by the accumulation of more geometric shapes.
-each shape is perfectly contrasted with the other ones and the background because of the plain, solid colors the artists used.
-black and light mustard yellow are predominant in this works with a lowest percentage of red.

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Rectángulos y cuadrados MMDLXIX, José Pedro Costigliolo, Acrylic on canvas, 1979, 100cm x 100cm. https://www.wikiart.org/es/jose-pedro-costigliolo/rectangulos- 

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Rectángulos y cuadrados MMDLXIX, José Pedro Costigliolo.

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Rectángulos y cuadrados MMDLXIX, José Pedro Costigliolo.

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Suprematist composition: airplane flying, Kazimir Malevich, Oil on canvas, 1915, 57.3×48.3 cm. https://www.moma.org/collection/works/79269