Portrait of a record-setter in work productivity - Kazimir Malevich
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Beschreibung
A 1912 portrait by Kazimir Malevich depicting a worker against an industrial backdrop, showcasing the artist's early Cubo-Futurist style.
This portrait, painted by Kazimir Malevich in 1912, captures a figure set against a backdrop of industrial activity. The subject, an older man with a prominent moustache and spectacles, occupies the foreground. His expression is fixed and serious, suggesting a preoccupation with the labour occurring behind him. The composition employs a distinct division between the individual and the environment, reflecting the artist's early engagement with the rapid industrialisation of the period.
The background features a stylised factory setting, complete with smoking chimneys and brick arches. Malevich uses a palette of muted blues, ochres, and earthy reds to construct this scene. The brushwork is deliberate and textured, creating a sense of physical weight in both the subject and the surrounding architecture. While Malevich is widely recognised for his later development of Suprematism and geometric abstraction, this work demonstrates his earlier interest in the intersection of human labour and the machine age.
The painting belongs to a period where Malevich experimented with the visual language of Cubo-Futurism. He integrates the human form with the mechanical elements of the factory, suggesting a synthesis between the worker and the industrial process. The figure is rendered with a degree of naturalism that contrasts with the simplified, almost block-like treatment of the background structures. This tension between the portrait and the industrial setting provides a clear view into the artist's stylistic progression during the early twentieth century. The work remains a significant example of his transition from representational painting toward the radical abstraction that would define his later career.
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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 record-setter in work productivity - 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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