Description
The "bourgeois in a carriage" of 1913, an emblematic work of Pavel Filonov, immediately evokes a deep reflection on the turbulent time in which it was created. Filonov, a central figure of Russian futurism, is distinguished by its intricate "organic analysis" that unravels the elements of reality to reorganize them on their canvas of almost microscopic forms.
Obly observing the paint, immediately the angular and fragmented lines that configure not only the central figure of the bourgeois are perceived, but also its environment and the same carriage. The composition is dominated by an explosion of vibrant and contrasting colors. The bourgeois, sitting in his carriage, is represented with a mixture of geometric and organic shapes that, from an enlarged perspective, gives the impression of a kaleidoscopic mosaic. Bright colors and broken lines not only dynamize the scene but transmit a feeling of instability and movement, recurring themes in the art of Filonov.
The most striking aspect of this painting is undoubtedly its complex composition. Filonov was known for his meticulous attention to detail, creating works that challenged the viewer's gaze and resistance. Here, each color fragment seems to have its own life, contributing simultaneously to the entire figure and the environment, in an obvious manifestation of its principles of "anthropomorphism" where each element seems to acquire an almost human quality.
It is crucial to contextualize this work in the socio-political panorama of the Russia of the early twentieth century. At the cusp of the revolution and social change, the portrait of a bourgeois in its luxurious carriage could be interpreted as an evening criticism of social inequalities and the distancing of the upper classes of the daily reality of the majority. However, Filonov was not limited to direct and simple social criticism; His art abounds in multiple symbolisms and meanings, leading the viewer to question the very essence of representation and meaning.
The absence of perspective and the rejection of classical three -dimensionality add to this sense of bewilderment. Filonov fragments space and time in his work, perhaps reflecting a privileged vision in which the past, present and future coexist and influence each other.
When comparing "bourgeois in a carriage" with other works by Filonov, such as "the banquet of the kings" or "the peasant and his wife", one can notice a constant: the complexity and density of the images, an almost baroque structure in its abundance of details and an unmatched ability to capture the essence of its time through a multifaceted and deeply subjective lens.
Filonov, often in the shadow of other more commercially disseminated contemporaries such as Kandinsky or Malevich, remains a provocative enigma, a master In decomposing and recomposing reality and, in this process, revealing hidden truths about the human condition. "Burgués in a carriage" encapsulates his genius, his technical skill and his deep sensitivity towards the convulsive winds of change that swept their world. In an era of radical transformations, Filonov offers not only a portrait, but a prism through which to rethink the concept of existence.
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