Composition suprematistic elements (Feeling of the flight) - Kazimir Malevich
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Beschreibung
A seminal Suprematist study by Kazimir Malevich, exploring weightlessness and balance through geometric forms.
Kazimir Malevich, a central figure in the development of non-objective art, produced this work during the early years of the Suprematist movement. This drawing, titled Composition suprematistic elements (Feeling of the flight), demonstrates the artist's focus on pure geometric form and the rejection of representational imagery. By stripping away references to the physical world, Malevich sought to express what he termed the supremacy of pure feeling in creative art.
The composition consists of a series of stark, dark rectangular shapes arranged against a neutral ground. A large, cross-like form dominates the upper left quadrant, while smaller, thinner bars are scattered across the lower right. These elements appear to float within the space, suggesting a sense of weightlessness or aerial movement. The texture of the pencil marks is visible, providing a tactile quality to the otherwise rigid geometric shapes. This work reflects the artist's interest in the relationship between mass, balance, and the void.
Malevich developed Suprematism in Russia around 1913, aiming to create a new visual language that transcended traditional artistic boundaries. His approach prioritised the economy of means, using simple shapes like squares, rectangles, and lines to explore spatial dynamics. This specific study captures the essence of his theoretical writings, where he argued that art should exist independently of the objects it depicts. The work is a clear example of the radical shift in early twentieth-century modernism, moving away from the depiction of reality toward a focus on the fundamental properties of form and composition. It remains a primary example of the aesthetic rigour that defined the Suprematist project during its formative period.
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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
Composition suprematistic elements (Feeling of the flight) - 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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