Obsessed about dots...
5:45 p.m.
Let's see today how the same geometric shape has gained different meanings in art through time...
Black Circle, by Kazimir Malévich (1913)
Technique: oil on canvas / Measures: 105.5 x 105.5 cm
Kazimir Malévich (Russia, 1878-1935) proposed, in 1913, a world empty of objects, the non-possesion, and he reflected it in his paintings. The image of a circle, placed slightly to the top right of the canvas, produces the illusion of lightness... In any other location, it would communicate just the opposite.
Q 1 Suprematistic, by László Moholy-Nagy (1923)
Technique: oil on canvas / Measures: 95.2 x 95.2 cm
For Moholy-Nagy (born in Hungary, nationalised American, 1895–1946), a geometric circle was the best way to connect art and society.
Ondho, by Victor Vasarely (1956-60)
Technique: oil on canvas / Measures: 220 x 180.4 cm
Vasarely (France, 1908–1997) made a scientific construction of his paintings, according to optical laws. His works have no symbolic meaning in itself, but cannot be considered just decorative, because enjoying them properly require many mental equations.
Turnsole, by Kenneth Noland (1961)
Technique: polymer paint on canvas / Measures: 239 x 239 cm
The previous work by American artist Noland (1924–2010) looks like a dartboard of concentric circles. It's referred to the cosmos, specially the sun. Thus the use of yellow and the name of the painting.
B-171, by Tadasky (Tadasuke Kuwayama) - 1964
Technique: polymer paint on canvas / Measures:38.4 x 38.4 cm
Tadasky grew up in Japan but in 1961 he moved to New York. His works are example of Optic Art and are the result of numerous studies about perception: we can actually perceive the movement.
Untitled, by Manuel Espinosa (1966)
Espinosa (Buenos Aires, 1912-2006) repeats the circle throughout all the canvas and adds shadows, superpositions and shifts, which also contribute to the perception of movement.
Technique: Household gloss on canvas / Measures: 1473 x 965 mm
Through years, the circle has lost the symbolism proposed by Malévich to become, in the 60s, a stimulator of perception. Nowadays, Damien Hirst (1965) paints dots to demonstrate the joy of colour. In his own words, "colour can exist on its own, interacting in perfect harmony with other colours".
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