Description
In the painting "Peasants - 1930" by Kazimir Malevich a fascinating vision of rural reality through the prism of modernist art is perceived. Malevich, known for being the pioneer of suprematism, a current that celebrates the supremacy of pure sensitivity in art, presents an amalgam of stylized human figures that captures both the essence of the common man and the distillation of pure geometric shapes.
The composition of the work stands out for its austere but effective organization. Peasant figures are represented with a monumental simplicity that remembers archaic sculptures, almost iconic in their staging. These figures have a sigh biased by abstraction, lack defined facial features and, nevertheless, manage to transmit a powerful feeling of presence. Malevich, faithful to his technique, eliminates superfluous details to focus on the essential structure of forms.
The use of color in "peasants" is particularly relevant. Malevich resorts to a limited but shocking palette, combining primary tones with more terrible and white areas. This choice is not fortuitous; Colors seem to be an allusion to purity and suprematist truth, functioning as a formal and emotional symbolism. The blue and green background, almost abstract, suggests a rural landscape without resorting to conventional realism, placing the peasants in an unmporal and universal space.
The vertical orientation of the peasants, placed as pillars on the canvas, can be interpreted as a tribute to the dignity and resistance of the working class. The robust and rectilinear forms of the bodies, as well as the cleaning of the lines and edges, endow the scene of a classic force that seems to elevate the subjects to an almost monumental category. Instead of focusing attention on sweat and daily work of the peasants, Malevich opts for a representation that enhances their stoicism and vitality.
There is no doubt that this work also reflects the social and political ideas of the historical context of Malevich, who created many of his pieces during the turbulent decades of the first communist revolts in Russia. However, "peasants" refrains from being a simple propaganda vehicle. Instead, it represents a more universal and timeless vision of the human condition seen through the eyes of one of the giants of modernism.
Observing "peasants - 1930" is to enter an exercise of contemplation on the human form and its relationship with space, stripped of ornaments and led to an essentialist dignity. In the end, painting is not only a Malevich time product, but also a testimony of art ability to transcend the particular and achieve the universal.
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