Description
When contemplating "Floor Pullers" (1912) by Kazimir Malevich, one immerses himself in the dynamic and vibrant universe of the pre-suprematist art of the Russian artist, a period marked by his transition to a more abstract and geometric visual language. In this work, Malevich, known mainly for its fundamental role in the creation of suprematism, exhibits its experimentation with Cubism and Futurism, two artistic movements that deeply influenced their artistic evolution.
The composition of "floors of floors" stands out for its complexity and dynamism. The work presents two human figures, floors of floors, involved in their daily work. These figures are fractional and reensambled in multiple geometric planes, a characteristic element of analytical cubism. The perspective decomposes and rearrange in a way that defies the conventional perception of space and volume. The contours of the bodies and the tools are dissolved in a network of angular and faceted shapes, evoking the sensation of movement and energy inherent to the task of polishing floors. This fragmentation and the overlap of forms reflect a clear influence of futurism, which sought to represent modern speed and mechanics.
The use of color in "floors of floors" also deserves special attention. The palette is dominated by earth tones, ocher and brown, which complement each other with colder blue and gray. This chromatic combination not only brings balance to the composition but also infuses a certain melancholy and modesty to the scene, contrasting with formal abstraction. The colors are applied in flat and defined blocks, without gradations, which accentuates the two -dimensional quality of the work, moving away from the illusion of depth found in the most realistic representations.
An interesting aspect of this painting is the way Malevich treats light and shadow. Instead of using traditional chiaroscuro, the artist creates the reflected light effect using color contrasts and juxtapositions of shapes. Lighting does not come from a specific source, but seems to emanate from different points of the composition, reinforcing the idea that pictorial space is a mental construction rather than a faithful reproduction of visible reality.
The execution of "floors of floors" reflects a crucial stage in the Malevich career, where its approach moves from symbolism and primitivism towards greater abstraction and exploration of geometric shapes. Although the work has not reached the radical purity of suprematism, which Malevich would develop in 1915 with works such as "Black Square", already prefigures its desire to transcend objective representation and explore the essence of form and space.
In summary, "Floor Pullers" is an outstanding example of the pre-suprematist period of Kazimir Malevich, and offers a fascinating vision of his evolutionary process as an artist. Through its complex geometric composition, its distinctive color treatment and abstraction of the figures, Malevich not only captures the essence of a daily activity, but also reveals its artistic concerns and explorations that would later crystallize in its monumental contribution to the abstract art of the twentieth century.
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