Portrait of a Member of the Artist's Family - Kazimir Malevich
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Beschreibung
A Post-Impressionist portrait by Kazimir Malevich, featuring a woman in a garden setting rendered with light-filled, broken brushwork.
This work, painted by Kazimir Malevich in 1906, captures a quiet domestic scene. It predates the artist's later move toward Suprematism and geometric abstraction. Instead, the painting demonstrates his early engagement with Post-Impressionist techniques, particularly the use of broken brushwork and a light-filled palette.
The subject sits in an outdoor setting, likely a garden, with dappled sunlight filtering through the foliage. The artist employs a technique reminiscent of Divisionism, where small, distinct strokes of colour are placed side by side to create a shimmering effect on the canvas. The woman wears a pale pink blouse, her form rendered with soft, light-toned pigments that contrast with the darker, more solid tones of her skirt. A table covered with a white cloth sits to her left, holding a small object, while she occupies herself with needlework.
The background is a wash of yellow and green, suggesting the warmth of a summer day. Malevich avoids sharp outlines, preferring to define the figure through the interplay of light and shadow. This approach creates a sense of atmosphere rather than rigid structure. The composition is balanced, with the figure positioned slightly to the right, allowing the garden space to breathe.
This painting offers a glimpse into the artist's formative years. It shows his interest in the effects of natural light and the application of colour theory, which were common concerns for painters in the early twentieth century. The work remains a study in domestic tranquillity, far removed from the radical non-objective art for which he became known later in his career. It is a fine example of the stylistic experimentation that defined the period, reflecting a focus on the sensory experience of the subject rather than a purely realistic depiction.
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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 Member of the Artist's Family - 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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