Description
In the field of art, the transcendence of Kazimir Malevich, a key figure of the Supreme Movement, whose ideas revolutionized the perception of art at the beginning of the 20th century. One of his post-sumatist works, "girl" (1932), presents a complexity and visual wealth that deserve a detained observation and contextual analysis.
"Girl - 1932" unfolds as a manifestation of Malevich's return to moderate figurativism, after having immersed in absolute geometric abstraction with its famous "black square." In this painting, there is a turn to more recognizable forms, but without abandoning the simplicity and minimalism characteristic of its mature style.
The composition of "girl" shows a stylized female character, represented standing, whose lines and shapes carry the unmistakable Malevich brand. The figure, although clearly defined, seems disconnected from any spatial or narrative context, which reinforces the sensation of timelessness and abstraction. Its rigid contours and the plain of pictorial treatment evoke a sensation of icon, a metaphysical figure that transcends tangible reality.
The use of color in this work is particularly significant. Malevich uses solid and vivid tones: the glowing white of the face and the hands of the girl contrasts with the strong orange of the upper clothing and the dark hat. This chromatic treatment highlights the figure against a flat and monochromatic background, which enhances the sensation of suspension and insulation of the figure. The painting lacks traditional spatial depth, which underlines two -dimensionality and recalls the influence of orthodox religious iconography, a recurring source of inspiration for Malevich.
Malevich's technique in this work is austere but effective. Use the brush uniformly, without looking for texture, which reinforces the impression of a smooth and polished surface, almost as if it were an industrial design piece rather than a traditional painting.
It is essential to consider "girl - 1932" within the context of Malevich's trajectory. In the years after the Russian revolution, Malevich had to adjust its artistic practice to changing and often restrictive political and artistic conditions of the Soviet Union. This work is part of a period where the artist, facing state repression and censorship, began to reconnect with figurative representations, although maintaining a visual language deeply rooted in his suprematist innovations.
"Girl - 1932" is also related to other works by Malevich of the same era, where a tension between pure abstraction and figuration is perceived. Works such as "peasant with cubes" and "the cast of wheat" reveal a similar treatment of figures, geometrically simplified shapes that seem to be suspended in time and space, away from physical reality and located in a metaphysical world.
In conclusion, "Girl - 1932" by Kazimir Malevich is presented as a sober and powerful expression of convergence between figuration and abstraction. The work, in its apparent simplicity, encapsulates the artist's innovative capacity to transform and reinterpret the human figure through an abstract prism, resulting in an image as shocking as enigmatic. Thorough care, shape and composition demonstrates Malevich's mastery in creating works that defy and enrich our perception of art.
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