Description
Kazimir Malevich, one of the greatest exponents of abstract art and a pioneer of suprematism, created in 1914 the painting "guard" (Guard - 1914), a piece that distinctively captures the aesthetic and conceptual concerns of its time. This work, although it might initially seem an amalgam of shapes and colors, must be analyzed in the light of Malevich's artistic evolution and the tireless search for redefining the parameters of visual representation.
At first glance, "Guard" presents a composition that deviates from the traditional representative forms, leaning towards a fragmentation that is disconcerting but fascinating. In a more careful inspection, painting reveals a complex network of geometric shapes and lines that converge and diverge into a vibrant spectrum of colors. The figurative elements, which can be recognized even if they are abstractly treated, evoke the figure of a guard with stylized details that distort the conventional perception of space and objects.
This paint uses a warm and cold color palette that are intertwined harmoniously but tense. Red, blue, yellow and whites coexist in a balance that highlights both the pictorial plane and the suggested depth. The geometric shapes, some of which seem to float or interpose with each other, challenge any attempt of a linear and direct reading. The work does not provide a clear focal point, which is a deliberate strategy of Malevich to attract the viewer to a longer and more reflective contemplation.
"Guard" is not just a painting, but a testimony of the transition period that Malevich lived in those years. This work is at a time when the artist explored the limits of representation through buffuturism, an intersection between Cubism and futurism, before establishing itself firmly in suprematism. The structural complexity and fragmented nature of the image reflect the influences of these currents, showing a dynamic tension between the figure and the surrounding space.
In Malevich's work, the figure of the guard could be interpreted as a symbol of surveillance, order or control, but by abstracting it to this point, Malevich defies any monolithic interpretation and suggests a multiplicity of meanings. The decomposition of the body in almost unrecognizable forms acts as a comment on the fragility of traditional structures and the impermanence of the observable world.
It is essential to contextualize "guard" within the broader panorama of the production of Malevich, particularly in the prelude to its development of suprematism. Shortly after this work, Malevich would paint his famous "Black Square" in 1915, a piece that would completely break the figuration to embrace a maximum expression of non-objectivity. "Guard", therefore, can be seen as an essential bridge on this artistic trip, where the artist still dealt with the tensions of the visible and the invisible world.
The "Guard" legacy lies in its ability to challenge and expand our understanding of art and perceptual reality. Through Malevich's work, we witness a search for aesthetic purity and an interrogation about the known ways of seeing and representing the world. This painting is a powerful reminder that art can be a radical transformation space, inviting us to see beyond the obvious and explore the depths of human imagination.
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