Unemployed girl

Kazimir Malevich • Malerei, 1930, 80×66 cm
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1799 × 2236 px • JPEG
35.3 × 42.8 cm • 129 dpi
30.5 × 37.9 cm • 150 dpi
15.2 × 18.9 cm • 300 dpi
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Über das Kunstwerk
Kunstgattung: Malerei
Motiv und Objekte: Porträt, Genre-Szene
Kunststil: Impressionismus
Technik: Öl
Materialien: Leinwand
Erstellungsdatum: 1930
Größe: 80×66 cm
Das Kunstwerk befindet sich in den ausgewählten Sammlungen: 15 selections
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Bildbeschreibung «Unemployed girl»

A girl is sitting on a bench in a serene sunny park. White collar, blue skirt and tie - in the tone of the eyes. On the face - absolutely no expression, the only shadow that can be seen on it - from the cap. There is no tension in the posture: the shoulders are straightened, the tilt of the head and the position of the arms indicate calmness and confidence. The girl has a healthy complexion and quite an athletic constitution - she clearly eats well. If it were not for the name, it would be difficult to guess that the girl is unemployed. However, even knowing the name, it is difficult to suspect that the lack of work bothers the heroine of the picture.

Obviously, the plans of Kazimir Malevich did not include either painting a private career drama, or depicting such social ills as parasitism and unemployment. The girl needed him for other purposes - with her help, he hoped to retroactively correct his creative biography.

Malevich himself dated this work to 1904. However, most experts agree that "The Girl" was written much later - directly for the personal exhibition, which opened in the Tretyakov Gallery in 1929.

Malevich tried to confuse traces. He not only indicated another year on the canvas. He - that's because the sly - also chose the "vanishing nature." In 1930, the last Moscow labor exchange will close - the USSR will declare itself the first country in the world to beat unemployment. Four years later, paintings by Malevich will be exhibited at the exhibition "Woman in Socialist Construction." Already in the 29th "Unemployed girl" seemed archaic, a plot from a past era.

Malevich still failed to deceive everyone. Comparing several impressionist works by Kazimir Severinovich (his novel with impressionism began at the beginning of the century), art critics came to the conclusion that some of them were written with a definitely more experienced and confident hand than others. They were created by a mature Malevich, Malevich who “went through” many scenic directions, Malevich, who had already composed Suprematism, an artist whose exhibition at the Tretyakov Gallery was timed to coincide with the 30th anniversary of his creative activity.

Why did Malevich need to break the chronology? Some researchers believe that for the exhibition in the Tretyakov Gallery the artist restored from memory his early work, which he left in storage in Berlin. And he dated these author repetitions over the years of creation of the originals. Malevich smelled evil and did not hope to ever see them again. To the pictures that were kept by the German architect Hugo Hering, he attached a note-will: "In the event of my death or stale imprisonment ...". Shortly after the opening of the exhibition in Moscow, he was indeed arrested as a German spy.

However, it is much more likely that Malevich, an auto PR virtuoso, wanted to present his creative path in the form of a constant movement forward. He saw Impressionism as an intermediate link; he considered the non-objective, "zero forms" to be the crown of evolution. The first thing for him was Suprematism, and the girls - with or without work - then. However, the ego did not allow Kazimir Severinovich to leave this creative stage as it was. Let it be "past business", let it be a fleeting affair. It was important for Malevich to prove that he not only outgrew impressionism, but also became the "world champion" in it. And with obvious ecstasy he painted girls in hats.

As befits any genius, Malevich was on a short leg with paradoxes. He created his most successful impressionist paintings, trying to disown impressionism.