Portrait of the Artist's Wife, N.A. Malevich - Kazimir Malevich
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Beschreibung
A striking 1933 portrait by Kazimir Malevich, depicting his wife in a style that blends modernist colour theory with traditional figurative composition.
This portrait of Natalia Andreyevna Malevich, the artist's second wife, dates to the final years of Kazimir Malevich's career. During this period, Malevich returned to figurative painting after his earlier experiments with pure abstraction and the Suprematist movement. The work displays a deliberate departure from the non-objective forms that defined his earlier output, instead adopting a style that echoes the formal qualities of Renaissance portraiture combined with the simplified, bold colour fields of his own aesthetic vocabulary.
The subject is captured in profile, set against a stark, dark background that pushes the figure forward. Her attire is rendered in blocks of ochre, blue, and red, with a distinct emphasis on the texture of the fabric and the geometric precision of the garments. The cap she wears adds a decorative element to the composition, while her hand gesture suggests a quiet, contemplative presence. The painting reflects the artist's interest in the synthesis of traditional Russian folk motifs and the structural rigour of modernism.
Malevich's return to the human figure in the early 1930s is often interpreted as a response to the shifting political climate in the Soviet Union, which increasingly favoured socialist realism. However, this portrait retains the artist's unique sense of proportion and colour theory. The flat application of paint and the lack of traditional chiaroscuro create a sense of stillness. It is a work that bridges the gap between his radical avant-garde beginnings and the more conservative requirements of his later years, offering a glimpse into the personal life of one of the most influential figures in twentieth-century art.
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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 the Artist's Wife, N.A. Malevich - 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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