Description
The "burial" painting of 1913, created by the visionary Kazimir Malevich, is presented as a palpable testimony of the stylistic concerns and searches that characterized an era of artistic and cultural effervescence in the prerevolutionary Russia. This canvas encapsulates a crucial turning point in the artist's trajectory, marking its transition from figurative styles towards geometric abstraction that would dominate his work in later years.
The "burial" composition is undoubtedly one of its most intriguing facets. The canvas is inhabited by robust and briefly delineated figures, represented with an apparent simplicity that contrasts with an underlying complexity. The centrality of the main character, the built, is inescapable and charges an almost totemic monumentality. The figure stands with a halo of enigmatic solemnity, like threshold guardian between the earthly and the transcendental. Its position and the elements that surround it seem to confer an indelible authority, moving attention to a ritualistic, almost mystical world.
An aspect that we cannot overlook is the colored palette used by Malevich. Earth's and ocher tones dominate the scene, suggesting an organic connection with earth and mortality, issues inherent to the burial figure. These colors not only enhance the severity of the subject, but also show the significant influence of Cubism and futurism in Malevich during this stage of his career. The colors contrast with the fragments of blue and white, which break into reminiscences of a hopeful future or perhaps of a spiritual significance.
It is also important to notice space construction in the work. Malevich plays with overlapping planes and geometric shapes, which despite their abstract connotations, manage to maintain a reminiscence of the figurative. This particular fusion gives rise to a simultaneous sensation of stability and dynamism, a quality that establishes a simultaneous connection with the past and the future, with realism and increasing abstraction of its posterior suprematism.
Although human figures and their tools seem rudimentary and almost primitive, there is an intentional gesture that gives them an impressive timelessness. The simplification of forms and the low amount of facial details still manage to communicate a spectrum of emotions and psychological dimensions, something characteristic of primitivism that permeated much of the art of Russian avant -garde.
When contemplating "burial", it is inevitable to remember other works by Malevich, such as "the lumberjack" of 1912, where you can also observe an approach to the human figure through a geometric and simplified lens. These pieces establish a dialogue with each other, enriching the understanding of the author's stylistic evolution and its attempt to strip the art of any superfluous element to reach a more pure and elementary essence.
The work "burial" of 1913 is ultimately an inescapable testimony of the restlessness and versatility of Kazimir Malevich. Through its geometric language and reduced chromatic palette, Malevich invites us to reflect on the human condition, the passage of time and the endless search for meaning in a world in constant change. With this piece, Malevich positions himself not only as a pioneer of abstraction, but as a tireless explorer of the depths of the human spirit.
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