Description
Kazimir Malevich, a key figure in the history of the art of the twentieth century, presents us in "Death of the Mounted General" of 1914 a work that stands out for its complex visual narrative and its revolutionary approach to the form and color. This painting, created in a world agitation moment at the dawn of World War I reflects and anticipates chaos and transformation that would characterize not only art, but also to contemporary history.
The "Mounted General Death" composition is a clear example of Malevich's style in the period immediately prior to his transition to suprematism. The work is populated by fragmented figures and geometric shapes that are intertwined in chaotic dynamism. To the center and slightly displaced to the left, we observe the supposed general mounted, represented in a form that challenges the traditional figurative convention. Its presence, robust and defined, is surrounded by a mosaic of vibrant colors and angular lines. The geometrization of the elements suggests both literal and symbolic fragmentation: the optical dismemberment of the world and its reference points under the optics of an imminent war.
The use of color in this work is particularly remarkable. Malevich uses a palette rich in contrasts, with predominance of red, yellow and white, which attests to its domain of color as an essential means for emotional and visual impact. Red, often interpreted as a symbol of violence and passion, is found both in the horse and in the elements of the background, highlighting the drama and the intensity of the time portrayed.
The characters and elements overlap and intermingle in a composition that may seem in a chaotic first glance, but that, with a more detained analysis, reveals a careful management and a deep spatial consideration. The general representation is abstract, its forms and their figure seem to dissolve and merge with the environment. This solution of the borders between figure and background is a distinctive feature of the Malevich style that questions the traditional notions of separation between subject and context.
The painting also reflects influences of contemporary currents to Malevich, such as futurism and cubism, with its interest in the representation of the movement and the dislocation of the form. However, it is evident that Malevich is not limited to imitating these styles; Instead, it transcends and reformulates them within a personal vision that prelies their subsequent evolution towards suprematism.
During the 1910s, Malevich was developing his theories about non -objective art, and "Mounted General Death" is at a crossroads between his exploration of the form and his search for a more essentialist representation. This work, although it still represents recognizable forms, begins to denote a tendency towards abstraction and simplification that would characterize its subsequent suprematist work.
The mastery with which Malevich handles the formal elements in "Muerte Muerte Muerte" offers us a vision of both individual tragedy and collective catastrophe. In this painting, the viewer can glimpse the beginning of a deep artistic change that would be reflected in his subsequent works and in the evolution of modern art as a whole.
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