Description
The painting "The sausage manufacturer arrived in Lodz" (1914) by Kazimir Malevich is a work that encapsulates the stylistic and conceptual transition of one of the most influential artists of modern art. In this piece, Malevich displays an amalgam of shapes and colors that anticipate their subsequent evolution towards suprematism, although it still retains figurative elements.
When observing the composition, one can notice a disintegration and recomposition of forms found at the border between figuration and abstraction. In "The sausage manufacturer arrived in Lodz", geometry becomes the protagonist, while the human figure, although present, is almost a pretext for formal exploration. The hard contours and contrasting colors generate a tension that is characteristic of the cube-fouturist style that Malevich cultivated at that time, influenced by the Cubism of Picasso and Braque, and Italian futurism.
The red, blue, white and black colors dominate the work, providing a vitality and dynamism that is characteristic of Malevich's visual vocabulary. Red, vibrant and predominant, seems to refer to energy and transformation. Behind these shades live the echoes of a reconfigured daily life through the prism of modernity. Geometric shapes and lines, some visible and others implicit, cross and overlap creating an almost musical visual rhythm.
As for the characters in the painting, the presence of abstract human figures is distinguished. The constructive complexity with which Malevich addresses the human figure suggests a "sausage manufacturer" that transcends the anecdotal to transform into a symbol of industrial modernity. The reduction of figures to geometric components and sometimes chaotic disposal, fourth wall through, seem to reflect the agitation and fragmentation of the Russian pre-refolutionary world.
Kazimir Malevich is a crucial figure in art history, known above all for its development of suprematism, a movement that sought the supremacy of pure sensitivity in art. Although "the sausage manufacturer arrived in Lodz" is not yet suprematist in its entirety, you can see in it a search that would culminate in works as iconic as "black square" (1915). In this painting, we see Malevich experiencing and pushing the limits of visual representation, leading to new ways of understanding and perceiving reality.
"The sausage manufacturer arrived in Lodz" not only synthesizes influences and trends of his time, but also prefigures the path to a new conception of art where the shape and color emancipan of mimetic representation. The painting thus becomes a tangible testimony of transit to the abstract language that Malevich would enshrine in its later years, marking a milestone in the history of the art of the twentieth century.
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