Portrait of Ivan Kliun - Kazimir Malevich
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Beschreibung
A 1913 Cubo-Futurist graphite portrait of Ivan Kliun by Kazimir Malevich, featuring geometric fragmentation and sharp, analytical lines.
This work is a graphite study by Kazimir Malevich, depicting his contemporary and fellow artist, Ivan Kliun. Executed in 1913, the drawing captures the stylistic transition of the Russian avant-garde during the early twentieth century. Malevich employs a Cubo-Futurist approach, breaking the subject into geometric planes and intersecting lines that suggest both movement and structural analysis. The face is not rendered through traditional modelling but through a series of sharp, angular facets that obscure individual features while maintaining a sense of presence.
The composition reflects the influence of French Cubism and Italian Futurism, adapted to the specific aesthetic concerns of the Russian artistic circle. Malevich uses varying densities of graphite to create depth and contrast, allowing the viewer to discern the suggestion of a hat, a nose, and a jawline amidst the fragmented geometry. The drawing is a record of the dialogue between artists who were actively dismantling representational norms in favour of a new visual language.
As a preparatory work or independent study, this portrait offers insight into the analytical process of an artist who would soon move toward the total abstraction of Suprematism. The lines are deliberate, showing the artist's focus on the relationship between form and space. The inclusion of the artist's signature and a handwritten inscription at the base provides a direct connection to the period of its creation. This print reproduces the textures of the original graphite marks, preserving the raw, experimental quality of the sketch. It is an example of the rigorous intellectual climate that defined the Russian avant-garde before the First World War.
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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 Ivan Kliun - 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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