malevich girls in the field c1928-32 Kazimir Malevich (1879-1935)
Kazimir Malevich – malevich girls in the field c1928-32
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Painter: Kazimir Malevich
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Here, too, Malevich is true to his tradition. Everything remains in his style, but not quite. The same geometric shapes-just woven into the female image. But these images are furnished with wonderful colors. There’s a place for red and black, green and yellow. Yes, virtually the entire rainbow spectrum is respected, and no one can say that this was painted by the same Malevich, who until recently depicted on the canvas only solid geometric shapes in a particular color - black.
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Description of the painting "Girls in the Field" by Kazimir Malevich
Here, too, Malevich is true to his tradition. Everything remains in his style, but not quite. The same geometric shapes-just woven into the female image. But these images are furnished with wonderful colors. There’s a place for red and black, green and yellow.
Yes, virtually the entire rainbow spectrum is respected, and no one can say that this was painted by the same Malevich, who until recently depicted on the canvas only solid geometric shapes in a particular color - black. But why suddenly he decided to depart from his cubist style? Why suddenly? It can be easily explained: the artist in that style became less space and, leaving behind the use of the same geometry, he returned to the styles almost familiar to the average man.
It could have been a landscape or even a portrait, but the artist did not paint faces. He used the uniqueness of the figures as if he were building human figures out of them or constructing landscapes. Only in doing so he used the whole gamut of colors. This period of his work is considered the most vivid and most expressive.
On this canvas, everything is schematic and proportionally correct. If you look at it purely theoretically, the sky is blue, the earth is multicolored. And the people themselves, since they came from the earth, should also be colored, just not mixed with the colors of the earth. All shapes, all edges, all colors are drawn. And so, after a while, you begin to understand, or rather imagine, what the girls might look like. To imagine their faces, their real figures, their concerns. If they are in the field, then they are peasants. And since they are in the field, it’s harvest time.
You can imagine this colorful vividness as a harvest festival. Remember how solemnly and honorably this day was celebrated in the countryside. Maybe that’s why Malevich provided this canvas with paints, to mark that this is the day on the canvas.
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The figures stand on a plane of reddish-orange color, which abruptly transitions into a background dominated by blues and greens, suggesting an expansive landscape. The horizon line is indistinct, contributing to the painting’s dreamlike quality. A subtle layering effect in the background hints at depth, but this is largely negated by the flatness of the figures themselves.
The arrangement of the figures suggests a procession or a collective action, yet their lack of expression and uniformity creates an atmosphere of quiet solemnity rather than joyful camaraderie. The color choices are significant; the stark contrasts between the hues could be interpreted as symbolic representations of different personalities or social roles within a larger group. The absence of detail encourages viewers to project their own meanings onto the scene.
The painting’s subtexts revolve around themes of collectivity, conformity, and perhaps even the suppression of individuality. It evokes questions about identity in a modernizing society, where traditional markers of selfhood are being eroded. The deliberate lack of narrative invites contemplation on the nature of human connection and the potential for both unity and alienation within groups. The overall effect is one of restrained emotion and ambiguous meaning, prompting viewers to consider the complexities of social dynamics and the search for identity in a rapidly changing world.