Description
The work "Bañistas" of 1911, by the outstanding Russian painter Kazimir Malevich, is a fascinating piece that reflects the stylistic transition of the artist from the symbolism to Cubism, before reaching his famous suprematism. In this painting, Malevich captures a group of figures in a bathing scene, sporadically scattered by the canvas, and brings with it a composition that guides us through different artistic and emotional dimensions.
The first impression that arises from "Bañistas - 1911" implies a proximity to Cubism under the influence of Paul Cézanne, with its fragmented forms and its focus on the structure. Malevich, however, is slightly departed from classical cubism by introducing bright and contrasting colors, which will provide the work of a latent and palpable energy. The characters, barely recognizable as human figures, incorporate basic geometric forms, simplified in their essence, suggesting an incipient interest in abstraction.
The use of color in "bathers" is another crucial aspect to highlight. The color palette, composed of warm tones such as yellow and red, intermingles with green and blue cold, creating a visual dynamism that intensifies the composition. These colors not only define the figures, but also establish a dialogue between them and the abstract environment that Malevich suggests with deliberately imprecise strokes. The chromatic interrelation in the work evokes a tension that seems to anticipate its transition to a more refined and less representational form of expression.
Another remarkable element is the symbiosis that Malevich generates between figure and background. The figures, although fragmented and abstract, do not disintegrate from the bottom, but seem to integrate with it, suggesting a certain unit. This treatment indicates an exploration of the relationship between form and space, anticipation of the future work of Malevich in which it will explore the supremacy of pure sensation in art.
Although "Bañistas - 1911" may seem a simple interlude in Malevich's vast career, it is, in fact, a testimony of its artistic evolution. It highlights its constant search for new forms of expression and its ability to absorb influences and redefine them under their own prism. The work is located at a crucial point where Malevich, shortly after, would come off the limitations of traditional ways to embrace a completely novel artistic worldview.
In "Bañistas - 1911", Malevich not only experiences shape and color, but also invites the viewer to an introspective trip about the perception of reality and art. It is a testimony of his visionary genius, aimed at reformulating the artistic canons of his time and paving the path to suprematism, where the essence of art resides at all and the eternal, beyond mere visual representation. This work is perceived, then, not only as a static image, but as a dynamic bridge towards the artistic revolution that Malevich was about to trigger.
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