Description
Kazimir Malevich, one of the pioneers of suprematism, confronts us once again with his ability to destructive reality in "four pieces with the sickle and hammer." This Polish-Russian artist, known for his constant search for the irreducible essence of art, displays in this work a powerful symbolism aligned with the conflicting times of the Russian revolution and the subsequent formation of the Soviet Union.
A visual inspection of the painting reveals a composition that seems to be divided into asymmetric sections, reminding us of the geometric lines and shapes that Malevich privileged in its suprematist practice. The focal point is undoubtedly the iconic hoz and the hammer, emblems of the proletariat and the union between peasants and workers, recurring elements in the Soviet imaginary. However, Malevich is not limited to a literal or propaganda representation; Instead, it places them in an almost dreamlike abstract space, disconnected from any identifiable environment, which gives them an air of universality and timelessness.
The color, in this work, follows the limited but shocking palette that characterizes early suprematism. Vibrant reds contrast with shining white and black austere, creating a visual tension that reflects the struggles and hopes of the period. This use of color not only delimits shapes and figures but also operates as an emotional vehicle, evoking both the crudeness of the revolutionary struggle and the purity of the ideals that sustain it.
There are no characters in the traditional figurative sense, but geometric shapes and symbols act almost as actors in an abstract scenario. Each line and each curve seem to have a purpose, a dynamism that makes them almost palpable, as if they were in continuous movement. The presence of the sickle and the hammer itself becomes a main character, of great symbolic and emotional load.
It is interesting to note that, although there are no specific data on this particular work, its context and style place it in an abstract art tradition that goes beyond the borders of immediate historical events. Malevich, who ranged from several stylistic phases, always returned to the search in a pure way, not corrupted by obvious representation or symbolism. Thus, "four pieces with the sickle and the hammer" can be seen not only as a comment on the revolutionary fervor, but also as an experiment within the vast exploration of the limits of abstract art.
In conclusion, painting is not only a manifestation of its times but also an eternal testimony of the ability of art to encapsulate and distill deep truths and human emotions. Malevich, with his Avant-Garde gaze and his respect for the pure form, gives us a work that continues to gather with the intensity of their colors and the precision of its lines, dialoguing with each spectator through the universal language of symbolism and the abstraction.
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