malevich to the harvest (marfa and vanka) c1927-9 Kazimir Malevich (1879-1935)
Kazimir Malevich – malevich to the harvest (marfa and vanka) c1927-9
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Painter: Kazimir Malevich
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In the works of the Soviet avant-garde artist Kazimir Malevich, human characters are not very frequent guests. But when the author nevertheless took up the image of people, as a rule, they were created from peculiar curved suprematic planes. This is a characteristic feature of the artistic direction of Suprematism, whose founder was Malevich. Before writing this work, the author creates a canvas called "Vanka".
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Description of Kazimir Malevich’s painting "At Harvest (Marfa and Vanka)
In the works of the Soviet avant-garde artist Kazimir Malevich, human characters are not very frequent guests. But when the author nevertheless took up the image of people, as a rule, they were created from peculiar curved suprematic planes. This is a characteristic feature of the artistic direction of Suprematism, whose founder was Malevich.
Before writing this work, the author creates a canvas called "Vanka". The boy in the painting "To the Harvest" is an exact copy of "Vanka", he is depicted with his back to him, his head pulled into the shoulders. Despite the primitiveness of the forms, the artist succeeded in conveying movement - we distinctly understand that the boy is walking forward, moving away from us. The female figure (Marfa) is executed in the same manner as the boy, only his head is covered in a shawl and he is holding a bundle and a bucket.
The people in the background are depicted cleaning hay. In contrast to the monochromatic central characters, the secondary characters are painted in bright colors.
The painting belongs to Malevich’s second peasant cycle. It is interesting that in the first peasant cycle there was a work called In the Field, which was later lost. Only a sketch of the work has survived, but in comparison one can clearly see the differences between the two periods of the author’s work - pre-supremacist and post-supremacist. In Malevich’s original paintings, the horizon did not exist as such, but later it is clearly marked. Also in later works, space gains direction and perspective due to the clear division into sectors, usually of color.
In his autobiography, the artist wrote that he was always fascinated by the theme of peasant labor. One way or another, these works, quite unusual for the average viewer, along with the "Black Square" have immortalized the work of Kazimir Malevich.
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The background reveals a group of figures engaged in what appears to be agricultural labor – harvesting or gathering crops. These individuals are rendered with less detail than those in the foreground, their forms simplified and somewhat flattened against a backdrop of undulating fields and a pale sky. The color scheme here is warmer, featuring yellows, oranges, and reds that contrast with the cooler tones of the foreground.
The arrangement suggests a procession or journey. The figures in the foreground appear to be leading or accompanying those working in the field. This could imply guidance, oversight, or perhaps even displacement – the larger figure’s imposing presence hinting at a power dynamic. The obscured faces contribute to this sense of mystery; we are denied direct engagement with their emotions or intentions.
The paintings subtexts revolve around themes of leadership, labor, and societal structure. The stark contrast in scale between the foreground figures and those in the background underscores a potential hierarchy. The red bag carried by the larger figure might symbolize responsibility, burden, or even something valuable being transported. The overall effect is one of quiet observation, prompting reflection on the relationship between individuals and collective effort within a rural setting. Theres an underlying tension – a sense that something significant is unfolding, though its precise nature remains elusive to the viewer.