Portrait of a Man (Self-Portrait) - Kazimir Malevich
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Beschreibung
A late-career figurative portrait by Kazimir Malevich, featuring dramatic lighting and a sombre, textured application of paint.
This portrait, often identified as a self-portrait, represents a late period in the career of Kazimir Malevich. While the artist is most associated with the development of Suprematism and the reduction of form to geometric essentials, this work demonstrates his return to figurative painting in his final years. The composition focuses on the head and shoulders of the subject, set against a dark, indistinct background that pushes the figure forward.
The lighting is dramatic, casting a strong yellow-toned illumination across the face while leaving the remainder of the figure in shadow. The brushwork is deliberate and textured, particularly in the rendering of the beard and the facial features. The subject wears a dark garment with a distinct red apron, a detail that adds a sharp chromatic contrast to the otherwise sombre palette. This choice of attire suggests a working or artisan context, perhaps referencing the role of the artist as a craftsman.
Malevich employs a limited colour range, relying on the interplay between the warm, pale tones of the skin and the deep, murky blacks of the surrounding space. The gaze of the subject is direct, meeting the viewer with a sense of gravity. This painting occupies a curious position in the history of early twentieth-century Russian art, as it sits in contrast to the non-objective works that defined the artist's earlier output. It provides a view into the stylistic shifts experienced by avant-garde painters during the changing political and cultural climate of the Soviet Union in the 1930s. The work remains a study in character and light, stripped of the complex theoretical frameworks that dominated his earlier Suprematist compositions.
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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
Portrait of a Man (Self-Portrait) - 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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