Description
Kazimir Malevich, one of the giants of the art of the twentieth century and founder of suprematism, entered into various artistic explorations throughout his career and, in 1932, he bequeathed the enigmatic and evocative work "three girls." This painting, While it is not one of his best known works, he encapsulates a particular moment of Malevich's artistic evolution and his time, showing a departure from geometric purism towards a more figurative representation.
The painting presents three female figures, which although they have an abstract quality, are unmistakable as "girls." The treatment of the figures is simplified, almost reminiscent of folk dolls or icons, something that is linked to Russian cultural roots and a turn towards the latent humanity behind artistic revolutions. The robust proportions and the statism of the figures suggest an influence of Russian primitive and popular art, as well as the Italian Renaissance art, that Malevich studied and admired.
The colors, although limited, are of a captivating liveliness. The bodies of the girls are represented in solid, red and white tones, contrast reinforced by the superb use of the black color in the background, which gives the composition a dramatic power and an air of mystery. The choice of colors can be seen as a reflection of the artist's feelings, immersed in times of political and social seizures in the Soviet Union, where color not only represents the visual, but also the emotional and the symbolic.
The composition is surprisingly static, and the almost symmetrical organization of the figures adds a formality and a rite to the work. However, this formality does not remain expressiveness to painting; On the contrary, he invites a prolonged contemplation, as if the girls were participating in a ceremonial or mystical act. Faces, although austere and lacking detailed features, project a feeling of gravity and reflection.
"Three girls" can also be interpreted as a bridge between two worlds: the ornamentation and narrativity of its previous period against the radical abstraction of their supreme works such as "black square." In this convergence, Malevich seems to remind us that, despite its conceptual revolutions, human essence remains immutable and deeply rooted in collective and cultural experiences.
Malevich, committed to the idea of transcending the material in search of the "supremacy of pure feeling," returns here to a form that, although more tangible, remains loaded with symbology and mystery. The work "Three Girls" is a meditation on identity, time and cultural memory, a silent testament of the unwavering connection between the individual and his socio-cultural heritage.
In conclusion, "three girls" by Kazimir Malevich is a work that challenges simplifications and encloses in its forms and colors a rich confluence of influences and meanings. It is a testament of the versatility and depth of an artist who never stopped questioning and redefining the limits of his art and the world that surrounded him.
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