The artist is Malevich
The ambiguity of the perception of the images of the late works of Malevich is hidden in the depths of the symbols of color and in his universal compositional schemes. AT „Red cavalry “The inviolability of immense space and the fragility of red riders are opposed to inviolability, impassivity. That this is a reminder of a red -haired apocalyptic rider or a new symbol of inevitability „world revolution "? The Russian Museum. From the icon to the present. 2005. With. 344.
For a long time the picture was the only work of a disgraced artist recognized as the official history of Soviet art. This was facilitated by its faithful name, which sounded, it would seem in unison with the generally accepted praise of the revolution and the Red Army. Malevich deliberately fixed this layer of interpretations with the date “1918” in the right corner of the canvas and in the inscription on the back: “Red cavalry from the October capital jumps, to protect the Soviet border”.
In the picturesque structure of this work, Malevich’s thoughts reflected his attitude to modern reality: “… some leaders called to spiritual life, others to material benefits. So, the believed people moved on the road … The banners change like footcloths, and there is no sense, the legs are sweaty, the fingers are erased, the corns are extended. The human movement in the hope of getting good reminds of those crazy people who, seeing the horizon, rushed there, because they believed to find the end of the earth, forgetting that they were all on the horizon and there was no need to run anywhere … ".
Driven by unknown power, lost in eternal space, revolutionary horsemen under the red banners on the globe are racing. Thin red silhouettes seem to be amicable among the Suprematic stripes of pure colors. Their fierce run is unprofitable and meaningless, for the road is infinite, the earth and the sky to the human bustle are indifferent and will never have been and will not be in the Universe of the Earth of the promised.
