Description
The painting "Chicas in the field" (1932) by Kazimir Malevich is a work of magnetic simplicity that, however, houses a deep complexity both in its composition and in its emotional and philosophical resonance. Painted at a later stage of her career, this work distanced from her famous suprematism, standing out more for her return to recognizable figures and forms, although with a touch that transcends the merely representational.
The composition focuses on four static female figures, whose stylistic treatment highlights the influence of primitivism and poses a meditation on the identity and role of women in the rural society of the time. These figures, with simplified geometric shapes and almost abstract faces, seem immersed in a stylized rural environment, adding a dimension of universality and timelessness to the scene. This treatment refers to the spectator to the iconic Malevich legacy, which has always been committed to transcending the observable to explore metaphysical and philosophical concepts.
The color becomes particular importance in this painting. Malevich uses a palette dominated by terrible tones and the blue of the sky, creating a contrast between the immobility of the figures and the vastness of the field that extends around them. The girls' dresses are represented in saturated colors, highlighting against the almost monochromatic landscape. The red, the white and the blue of their attire not only provide a visual dynamism, but can also be interpreted as symbolic references, perhaps referring to the Russian flag and, therefore, to the socio -political context of the 30s in the Soviet Union.
The landscape fund also deserves particular attention. The undulating hills and the peaceful sky provide some serenity contrary to the vertical rigidity of the female figures. This contrast seems to underline the tension between nature and humanity, a recurring theme in many artworks of Malevich.
Although "girls in the field" is not fully assigned to any style that strictly defined Malevich, shows a marked interest in the reinterpretation of Russian rural reality, idealized and stylized. The choice of thematic and aesthetic foci cannot be separated from the cultural and political context of those times. At a time when socialist realism gained ground, works such as this constitute a declaration of creative independence and a return to the essential in art.
It is essential to also mention that this painting remains less known than its suprematist works, but not less significant. In it, Malevich maintains a vibrant experimentality that underlines its constant search for new artistic languages. Contemporary works such as "Los Reedores" (1930) and "The Peasant in the Field" (1930) show perhaps an intermediate path between their revolutionary inclination of suprematism and a return to figuration, giving the spectator clues about his artistic transition.
Ultimately, "girls in the field" can be seen as a bridge between pure geometric abstractions for which Malevich is better known and a more anthropocentric approach. It is a tangibly rooted piece to the earth but at the same time immaterial in its search for the universal, thus encapsulating the duality inherent in its creator's genius.
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