Description
Kazimir Malevich, one of the pioneers of abstract art and founder of suprematism, presents in "head of a profile woman" (1912) a work that is positioned in the threshold of its transition towards complete abstraction. The painting, executed during the period in which Malevich was exploring and experimenting with the buffuturism, offers a deep look at the deconstruction of the shape and fragmentation of the plane.
The work shows us precisely what its title suggests: the head of a woman view of profile. However, describing this Malevich painting as a mere figurative representation would be excessive simplification. At first glance, painting is perceived as a set of lines and colors that intersect and overlap, challenging our traditional perception of human space and anatomy.
Therefore, "profile of a profile woman" is distinguished by its complex and dynamic composition. The image is fragmented in geometric facets, predominantly the curves and straight lines that build and at the same time dissolve the figure of the woman. This deliberate weakening of the concrete form can be interpreted as a precursor to the Malevich jump towards non -objective art, which would lead to its famous work "Black Square" in 1915.
The use of color is also significant in this painting. Malevich predominantly uses terrible tones, olive, brown, ocher and black green. These colors are applied in blocks and divisions that not only contribute to the fragmentation of the figure, but also grant a certain depth and dimension to the pictorial plane. The placement of colors may seem arbitrary to the naked eye, but it is precisely in this apparent irregularity where Malevich's compositional genius lies.
Although the central figure is a woman, the specific details of her identity are subordinated to the exploration of space and form. We do not see recognizable facial features, but a series of plans that suggest a head, a neck and a headdress. This partial abstraction allows the work to be both a portrait and a geometric exploration, reminding us that Malevich's goal was not simply to represent reality, but to reinvent it.
The painting also reflects influences of futurism, especially in the feeling of movement and dynamism that emanates from the composition. The intertwined forms and the lines that seem to move the image forward create a vibrant visual energy that is characteristically futuristic. At the same time, the geometric structure and decomposition of the subject show a clear cubist influence, a affiliation that Malevich not only studied, but also reinterpreted and expanded.
"Profile woman's head" is ultimately a work that encapsulates the artistic concerns of Kazimir Malevich at a crucial moment of his aesthetic evolution. Through its daring geometric dislocations and its distinctive coloration, the painting invites us to reconsider our notions of figure and form, providing a bridge between the buffuturism and the artist's supremist's future. This work is undoubtedly an essential fragment in the understanding of perpetual development and innovation that characterize one of the most influential artists of the twentieth century.
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