Description
"Girl in the field" of Kazimir Malevich, a work created in 1929, is located at a crucial moment of the artistic evolution of the Russian painter, known as one of the founders of suprematism. However, this particular painting is significantly departed from its notorious geometric abstraction to embark on a style that hybridized recognizable figures with abstract influences.
The work presents a lonely female figure in a country environment, synthesized in shapes and colors that denote Malevich's intention to go towards a certain simplification without completely abandoning figuration. The chromatic palette is limited but contrasting, predominantly using red, white and black. The main girl is entirely dressed in a red dress and a white handkerchief, chromatic division that visually segments the composition and gives her an iconic character.
The structure of the figure and the background in "girl in the country" stand out for their almost childish simplicity, which, however, manages to infuse a palpable emotional load. The girl's face is just an oval without discernible features, a decision that reveals both deliberate stylization and the artist's intention to transcend the particular to achieve the universal. The field, with its color stripes that suggest crops and the ground under an immense white-neat sky, is purified in basic volumes, which suggests moderate abstraction without reaching the extremism of its previous supreme works.
The position of the figure and vastness of the vacancy evoke a feeling of isolation and contemplation. This isolation is amplified by the lack of details in the background that, without specific references, feels timeless and without place. Such dispossession of narrative elements allows spectators to project their own emotional and cultural connotations on the image.
Stop this painting requires contemplating the transition that Malevich was experiencing in those years. Instead of pure geometry and the primary colors of suprematism, here we find a step towards a figuration achieved without completely giving up its abstract legacy. This return to the human figure and rural scenes can be seen as an attempt to reconcile radical abstraction with a new form of representation that combines visual reality with a higher idea of simplicity and universality.
"Girl in the field" is part of a series of works that Malevich made after its purest supreme stages, where the idea of stylized peasant figures and bucolic landscapes exploited. These works served not only as a reflection on rural life and Russian cultural identity, but also as a meditation on forms and their relationships with space and color.
In this way, "girl in the field" is positioned not only as a tangible transition work in Kazimir Malevich's career, but also as a piece of philosophical meditation that offers a deep look in the mind of an artist trying to redefine his language visual and conceptual. The painting, minimalist in its execution but deep in its implications, encapsulates an interesting counterpoint between simplicity and abstraction, providing a window to the experimental and evolutionary spirit of one of the greatest innovatives of the art of the twentieth century.
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