In the bathrooms - 1911

In the effervescence of the art of the early twentieth century, Kazimir Malevich stands as one of the most innovative and bold artists, with a work that oscillates among various currents before reaching the crystallization of its famous suprematism. Among the pieces that precede this development, "in the bathrooms - 1911" (in the bats - 1911) constitutes an enlightening example of its early phase of experimentation and transition.

The painting "in the bathrooms" of Kazimir Malevich, created in 1911, presents a scene inside a public bath, a daily theme captured with a technique that reveals influences of post -impressionism and fauvism, but which already begins to outline the interest of the artist for abstraction and geometry. When observing the work, we are witnesses of an atmosphere full of dynamism, not only by the figures represented, but also by the distribution and use of color.

The composition of the painting shows us several human figures, presumably men, interacting in a space bathed by a light that spreads between the bodies and the surfaces. The figures, although recognizable, are stylized and delineated with bold strokes and strong chromatic contrasts. Varied positions, some relaxed and other more dynamics are observed, adding narrative wealth to the scene. The bodies are sketched in a fragmented and somewhat geometric way, suggesting Malevich's interest in decomposing natural forms in simpler and more abstract elements.

The color in this work has a preponderant role. Malevich uses a vibrant palette, with dominance of ocher, blue and green tones, which provide a sense of warmth and moisture of a public bath. These chromatic elections also enhance tensions and harmonies within the composition, creating a sense of movement and life. Despite stylization and simplification, there is a stop of realism that allows the viewer to identify and relate to the activities and everyday life of the scene.

The background of the paint is not a simple backdrop, but a series of geometric planes that interact with the figures. These planes create an almost architectural spatial structure that encapsulates the action of the figures, inviting the observer to immerse himself in the represented environment. This use of space and forms is a precursor to the further development of the Malevich style, which would culminate in its radical commitment to geometric abstraction and suprematism.

Although less known than his iconic suprematist works as "black square", this painting is essential to understand Malevich's evolution as an artist. "In the bathrooms" shows how Malevich begins to conceive and represent reality not as a mere copy of the visible world, but as a set of formal and abstract relationships. It is in works like this where the artist begins his break with the conventions of the art of his time, exploring new ways of perceiving and representing the world.

In conclusion, "in the bathrooms - 1911" is a work that reflects the transition of Kazimir Malevich towards a new conception of shape and color in painting. It is a piece that, although framed in simple daily life, is loaded with formal meanings and elements that foresee its revolutionary contribution to modern art. Malevich transforms a common scene into a vibrant exploration of what art can be, marking a milestone in its artistic development and in the history of the art of the twentieth century.

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