Portrait of a Woman - Kazimir Malevich
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Beschreibung
A striking, minimalist portrait by Kazimir Malevich, featuring a mask-like face and bold, primary colour blocks.
This portrait by Kazimir Malevich reflects the artist's return to figurative painting during the final phase of his career. While Malevich is primarily associated with the development of Suprematism and non-objective geometric abstraction, his later works often revisited the human form through a simplified, iconic lens. The composition is stark and frontal, presenting the subject with a mask-like quality that removes individualistic detail in favour of universal form.
The figure is rendered with a deliberate lack of depth. The face is an elongated oval, painted in a flat, pale tone that contrasts with the deep green background. Malevich employs a primary colour palette, using a bright yellow nose and a distinct blue collar to break the symmetry of the composition. The torso is divided into two halves, one red and one white, which creates a sense of balance and geometric order. This approach aligns with the artist's interest in the essential properties of painting, where colour and shape take precedence over anatomical accuracy or psychological narrative.
Malevich's late figurative work often draws upon the aesthetic of Russian icon painting. The subject gazes directly at the viewer, maintaining a static, timeless presence. By stripping away the complexities of traditional portraiture, the artist focuses on the relationship between pure colour fields and the silhouette of the human head. This piece offers a clear view into the transition between his earlier radical abstraction and his later, more enigmatic representational style. It is a study in reduction, where the artist seeks to capture the essence of a person through a limited vocabulary of form and hue.
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Fertigung
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 Woman - 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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