This painting was Alexander’s pre-revolution work, purely ‘Abstract’ and ‘Non-Objective,’ far more dynamic and influenced by the ‘Suprematism’ of Kazimir Malevich. A ‘Suprematist’ work was composed of geometric shapes, mostly circles and squares. Rodchenko always portrayed bold thoughts in his paintings. This can concretely be seen in his most famous painting, “Dance, An Objectless Composition.” The painting displayed Aleksander’s inclination for ‘European Modernism,’ ‘Italian Futurists’ to be specific. ‘Futurists’ always believed in moving speedily towards the promising future. They had a strong liking for depicting motion in their paintings.
Though, “Dance, an Objectless Composition” is a ‘Futuristic’ work however, coincidently Aleksander Rodchenko anatomizes the subject. The painting appears as his emotional outburst. In consonance with the title (Dance, An ‘Objectless’ Composition), no recognizable dancer can be seen in this painting. Only a divine spark of dance comes across. Probably
the disturbing elements of this painting reflect the state of unrest of the then Russian society, which was moving close to revolution. Alexander endeavored to paint emotions and feelings. “Dance, An Objectless Composition,” appears roughly painted, with white background, where pencil lines were drawn, colored using primary & sub-primary colors, and beautifully spaced. The three components lines, color, and space played a vital role in Rodchenko’s painting.
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