Description
Kazimir Malevich, one of the pioneers of abstract art and founder of suprematism, gave voice to revolutionary tensions and aspirations of his time through such shocking works as "workers from all countries, uníos!" (1918). This painting, integrated in the context of the Russian revolution, encapsulates fervor and pure ideology of the historical moment it was going through.
By carefully observing the composition, it is evident that Malevich uses a precise geometric structure, characteristic of its suprematist visual language. Although in this work you can still glimpse a connection with tangible realities through some figures and symbols, the abstract essence continues to predominate. The use of color is equally significant: a restricted palette where black and white dominate with few touches of color, providing a powerful visual contrast. This chromatic choice is not arbitrary, but a tool to emphasize the simplicity and purity of the elements represented, moving away from detail and focusing on the universal.
Human figures, although schematized, suggest an anonymous crowd. This representation of the "workers" does not embody specific individuals, but a universal group, reflecting the internationalist call of the communist motto. The absence of facial features and specific details reinforces the idea of a homogeneous mass, united by a common goal. This depersonalized approach highlights the primacy of the collective on the individual, a central principle of the Marxist ideology.
It is crucial to highlight the impact of the Russian revolution on Malevich's work. The slogan "Workers from all countries, uníos!", Taken from the "communist manifesto" of Karl Marx and Friedrich Engels, becomes an emblem of solidarity and global struggle. In the period immediately after 1917, art was not only a vehicle of personal expression, but also a powerful political tool. Malevich, through his art, sought not only to represent, but also influence and mold the perception of revolutionary reality.
In the context of suprematism, this painting It also marks a transition. While his most recognized work, such as "Black Square" (1915), follows completely from any figurative reference, "workers from all countries, uníos!" It shows a malevich that, although still committed to geometric abstraction, is allowed to return to a more direct form of communicability, perhaps driven by the urgency of the historical moment.
To fully understand "workers from all countries, uníos!", It is essential to place it within the corpus of his work and the suprematist movement in its entirety. Malevich was a renegade of tradition, pushing the limits of representation to the ineffable. In this sense, his contribution is compared to that of other contemporaries who also explored new borders in abstract art, such as Piet Mondrian and Wassily Kandinsky. However, while Mondrian sought universal harmony through neoplasticism and Kandinsky pursued the spiritual expression in the abstract, Malevich was deeply influenced by the socio-political context of his environment and sought, through suprematism, a complete renewal of perception and visual consciousness.
"Workers from all countries!" It is not just a work of art; It is a visual manifesto of a convulsive era, a cry of hope and struggle encapsulated in shapes and colors. It is a perpetual reminder of how art can transcend the mere aesthetic contemplation to become an engine of change and a mirror of the deepest aspirations of collective humanity. Malevich, in his ability to synthesize the political and the aesthetic, invites us to reflect not only on the past, but also about the forces that continue to mold our present.
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