Description
Kazimir Malevich, a central figure in the development of abstract art, stands out for its exploration and consolidation of suprematism, an artistic movement that put in the center the supremacy of pure artistic sensibility more than the representation of objects. "Foot figure" (Standing Figure), is no exception in this journey to find purity in form and color. The work, executed in 1928-1932, is conceived as one of the last stages in the artist's career, marked by a subtle transition and reintroduction of figurative elements within the abstract language.
At first glance, "standing figure" is characterized by the presence of a lonely, upright and contemplative human figure, inserted in a background that looks like a naked canvas, so that a sensation of singularity and loneliness is evoked. The chromatic team is of a deliberate austerity. Malevich uses terrible and gray tones, with a touch of color on the face, which is distinctly colored white and red, perhaps referring to a mixture of humanity, emotion and emptiness.
As for the composition, the artist continues his game with geometry and austerity. The figure does not have complex details, but resembles a geometric block, reminiscence of the abstract elements that Malevich defended. The body lines are almost rudimentary, marked by the severity of the right angle and a certain rigidity. The position is not dynamic, but static, as in an attitude of waiting or resignation, thus evoking a sense of introspection.
The figure itself lacks complex facial details; There is a subtle delineation of the nose and mouth, but it is a face that is almost absent, not allowing the observer a direct visual contact. This abstraction in facial details reinforces a notion of universality and anonymity, a powerful characteristic in many of Malevich's figures.
We must place this work within the context of the artistic evolution of Malevich itself. After immersing himself fully in total abstraction with his iconic "Black Square" work in 1915, he began to reintroduce figurative elements in the 1920s. Foot figure can be seen as a bridge between its most radical suprematist phase and a search for more recognizable ways without giving up the detachment of the traditional figurative.
It is also relevant to consider the political and social change of its environment during this period. Malevich worked in a period of great seizure in the Soviet Russia, and although its suprematism was initially promoted by the Bolshevik regime, it soon disagreed with the restrictions of socialist realism imposed by the Stalin regime. His return to the figurative can be read as an attempt to reconcile his artistic vision with the new political demands, without losing his own language.
In summary, "standing figure" is an estimated window to the transition and adaptability of Kazimir Malevich. Through the simplicity of lines and colors, Malevich maintains a continuous conversation between abstraction and the figure, offering the audience a meditation on the existence, identity and socio -political environment of its time. The work is an iconic testimony of the artist's ability to merge sensations and concepts in a language that transcends the obvious.
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