Description
Kazimir Malevich, central figure of suprematism, presents us in "landscape with five houses" of 1932 that characterize their artistic maturity. The painting shows five houses in a landscape devoid of complex narrative elements or human figures, focusing on the purity of shapes and colors.
Composition is a study of geometry and planarity. The houses, represented by solid colored blocks and unequivocally geometric profiles, are a significant deviation of the most traditional detailed architectural structures. The disposition of these elements reflects a balance and a tension, a game between the static and the dynamic that is fascinating. The houses, although simple in their form, are carefully distributed along the canvas, creating a sensation of harmony and visual rhythm.
The use of color is particularly notable in this work. Malevich uses a moderate palette, predominantly terrible tones, ocher and the inescapable white that intermingles with other primary colors. Each house is bathed in a distinctive color, including a bright red and blue that stands out against the most turned off of the surrounding vegetation and the floor. This chromatic choice not only gives painting a unique vivacity, but also underlines the influence of suprematism, where color and shape function as autonomous entities, freed from naturalistic representation.
Although the work lacks human figures, which could have been an approach to other artists, Malevich opts for the absence of such elements, which leads to a deeper contemplation about the purpose and essence of the structures themselves. Here, the human being is implicitly present through architecture and the transformed landscape. It is a reflection on the humanization of space and the symbiotic relationship between the built form and nature.
Completing the scene, the sky is represented by a wide space of blue, which covers more than half of the painting. The decision to dedicate so much of the composition to heaven creates a feeling of immensity and serenity, contrasting with the regularity and solid of houses and the earth's landscape.
In the context of Malevich's work, "landscape with five houses" is exemplary of its transition from pure suprematism to a new visual language where references to recognizable forms can still be observed but treated with formal abstraction and reduction. This period is often seen as an attempt to reconcile the suprematist ideology with a more accessible representation to the general public, a kind of conclusion of its experimentation with the form and color.
The vision that Malevich offers us in this piece is one where the landscape, fundamentally altered by geometry and flat colors, becomes a manifestation of its final and mature aesthetic conception. In this work, it is not only the representation of space that matters, but how this space, in its simplicity and purity, can evoke a stillness and essential truth beyond visible reality. "Landscape with five houses" is erected as well as a powerful sample of the Malevich genius, questioning us to see the world through the prism of its radical simplification.
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