Combined Suprematistic Composition (Feeling of Metallic Sounds - Dynamic) - Kazimir Malevich
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Beschreibung
A 1915 study by Kazimir Malevich, this abstract work explores the intersection of geometric form and sensory experience through the lens of Suprematism.
Kazimir Malevich, a central figure in the development of non-objective art, produced this work during the early years of the Suprematist movement. The composition reflects his interest in the reduction of painting to its most basic geometric elements: the square, the rectangle, and the line. By stripping away representational content, Malevich sought to express pure feeling through the arrangement of forms in space.
This specific study, titled 'Combined Suprematistic Composition (Feeling of Metallic Sounds - Dynamic)', demonstrates the artist's attempt to translate sensory experiences into visual language. The arrangement of sharp, angular shapes and thin, directional lines suggests a sense of kinetic energy. The title itself provides a clue to his conceptual approach: the use of 'metallic sounds' implies a synaesthetic connection between the visual weight of the graphite marks and the auditory qualities of industrial or mechanical noise. The composition is balanced yet asymmetrical, with forms appearing to float against the empty space of the paper.
Malevich utilised the pencil to create varying degrees of density and texture, allowing the grey tones to define the spatial relationships between the shapes. The work avoids traditional perspective, opting instead for a flat, floating arrangement that characterises his Suprematist output from 1915 onwards. This piece is a clear example of the artist's focus on the economy of means, where a limited set of geometric primitives is sufficient to convey complex, abstract ideas about motion and sound. It remains a significant example of the radical shift in early twentieth-century art, where the objective world was abandoned in favour of a new, non-representational reality.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Combined Suprematistic Composition (Feeling of Metallic Sounds - Dynamic) - Kazimir Malevich
Artist Biography
Kazimir Malevich
He was born in 1879 near Kyiv, to parents of Polish origin, the eldest of fourteen children. Nine survived to adulthood. He moved through Impressionism, Symbolism, Fauvism, and Cubism before arriving at Suprematism, a system of pure geometric abstraction that he invented in 1913. White on White (1918) pushed the principle to its logical end: a white square, barely visible, tilted on a white background.
In 1927, he took approximately seventy paintings to Berlin for an exhibition. Soviet authorities recalled him abruptly. He left the entire cache with a German architect named Hugo Haering and never saw them again. The works eventually ended up at MoMA in New York and the Stedelijk Museum in Amsterdam.
In 1930, the secret police arrested him, accused him of Polish espionage, and threatened execution. He was imprisoned for two months. His teaching position was taken away. Artworks and manuscripts were confiscated. He was banned from making art and forced to return to figurative painting under Stalin.
He died of cancer in 1935, aged fifty-six. On his deathbed, Black Square was hung above him. His ashes were buried at Nemchinovka. He had requested a Suprematist sculptural form to mark his grave. Instead, it was marked with a white cube bearing a black square, which was destroyed during the war.
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