Description
"Someone evil - 1913" by Kazimir Malevich is installed firmly in the experimental period of the artist, prior to his famous immersion in suprematism. This work, at first glance, exhibits formal complexity and a bold use of the color that reflect Malevich's incipient concerns for dismantling the traditional representation and exploring new visual territories.
The composition of "someone evil" presents a vibrant amalgam of geometric and fragmented shapes, filed on a textured background that seems to submerge the viewer in a calculated chaos. The red, yellow, blue and black colors juxtapose themselves abruptly, creating a tension that seems to want to overflow from the canvas. The work, a mixture of aggressive brushstrokes and disconcerting visual connections, refers to the influence of buffuturism, movement with which Malevich aligned before formulating his supreme theory.
Malevich, although mainly known for his subsequent work in suprematism, such as the famous "black square" of 1915, here is at an intermediate point where abstract figuration and the impulse towards non-representation coexist. The central figure, although not clearly defined, suggests an ominous, almost monstrous presence, embedded by an abstract evil that transcends the literalness of the title. This enigma appears as a malformed entity, created from angular lines and intensely opposed colors, which suggests latent violence in its very existence.
The organized chaos of painting can be interpreted as a reflection of the tumultuous cultural and social context of the Russia of the early twentieth century. Malevich, always aware of the role of art as a vehicle of disruption and change, seem here to channel the tensions of his time in a visual cry that defies the established norms.
Through "someone evil - 1913", you can see the transition from Malevich towards a more pure and uncompromising form of expression. He painting tangentially touches its future explorations, denoting an inventive caustic that rejects complacency. In addition, formal treatment and vibrant chromatism show their interest in the force of color and the way in autonomous instruments of meaning.
While "someone evil" is not so widely recognized in Malevich's iconography as his suprematist works, it remains a crucial piece to understand the evolution of the artist and his constant search for new visual languages. Even, in the multiplicity of elements that make it up, the work anticipates the conceptual audacity that would characterize his subsequent career, giving the contemporary viewer a visual experience as disturbing as fascinating.
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