Description
In the painting "Man. Illogical figures of men and women," Kazimir Malevich, one of the parents of suprematism, radicalizes the perception and understanding of the pictorial space by breaking with the traditional conventions of figurative representation. This work of 1916, inscribed in the most experimental aspect of his career, exemplifies his search for a new aesthetic detached from mimesis and focused on pure language of geometric shapes and primary colors.
When observing carefully "man. Illogical figures of men and women," we face a juxtaposition of stylized human figures and stripped of realistic details, rendered with bright colors and contrasting planes. The figures are almost monumental, occupying the space with a forceful force, but, at the same time, compositionally fragile and ephemeral are perceived, as if Malevich wanted to accentuate the irrationality and absurdity of human existence. The bodies are not subject to a coherent anatomical logic, which reinforces the "illogical" character indicated in the title of the work. Such deformations give a tone of alienation and disconnection, intrinsic characteristics to the Russian avant -garde movement at the dawn of the twentieth century.
Chromatic use in this piece deserves a special mention. Malevich is not limited to a basic palette, but uses a range of bright and bold colors: red, black, oranges, white and green that are found in opposition and simultaneously in schematic harmony. This colored contrast, applied with a relentless and precise brush, not only defines the shapes, but also accentuates their independence from each other, as if the figures exist in parallel and disagreement universes. This technique, in turn, seems to resonate with Malevich's supreme philosophy, which sought to transcend the representation and explore the metaphysical perception of the real.
The composition of the work reveals a spatial dynamic where the figures, although apparently unstructured, are balanced within the two -dimensional structure of the canvas. Malevich gets a precise balance between the emptiness that surrounds the figures and the chromatic density of the characters, generating a sensation of constant movement and surprise in the viewer. There is a clear intention of disorientation, guiding those who observe towards a more introspective and emotional appreciation of artistic creation.
Located in the context of Kazimir Malevich's work, this painting can be seen as a continuation of its interest in abstraction and rejection of the credible figurative representation. In his 1915 Supreme Manifesto, Malevich had declared that the essence of art resided in the supremacy of pure sensitivity, and "man. Illogical figures of men and women" perfectly illustrates this principle. The work also is related to other works of the same era, such as "Supreme Composition: plane flying" (1915) and "Campesino Head" (1928-1929), where he experiments with similar geometric shapes and color theories.
Finally, it is crucial to place this work within the historical and artistic future of the early twentieth century. The Russian revolution and its sequelae imposed urgent questions about the function of art in society. Malevich, with his suprematist explorations, not only challenged traditional artistic canons, but also responded to the tumult and transformation of his time with a radically new vision, which he found in the illogical and abstract a way of representing the essential truth of the human existence "Man. Illogical figures of men and women" is a vibrant testimony of that avant -garde impulse, a bridge between the visible and the invisible, the rational and the irrational.
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