Red Cavalry - Kazimir Malevich
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Beschreibung
A seminal work by Kazimir Malevich, featuring three groups of red horsemen moving across a series of precisely rendered, horizontal coloured bands.
Red Cavalry, painted by Kazimir Malevich between 1928 and 1932, represents a departure from the artist's earlier, purely non-objective Suprematist compositions. While Malevich is best known for his geometric abstractions, this work reintroduces figurative elements, specifically the mounted soldiers, set against a highly structured, horizontal field. The composition is divided into three distinct zones: the sky, the earth, and the ground upon which the cavalry rides.
The sky occupies the upper portion of the canvas, rendered in a gradient that transitions from a deep, saturated blue at the top to a pale, atmospheric white near the horizon line. Below this, the earth is depicted as a series of parallel, coloured bands. These stripes of ochre, green, and black create a sense of rhythmic movement, echoing the forward motion of the riders. The cavalry itself consists of three groups of horsemen, painted in a uniform, bright red. Their silhouettes are simplified and repetitive, functioning as graphic symbols rather than realistic portraits of soldiers.
Malevich employs a rigorous mathematical approach to the placement of these elements. The horizon line and the bands of colour are precisely measured, reflecting the artist's interest in the relationship between space and form. Despite the inclusion of recognizable subjects, the painting retains the formal clarity of his earlier work. The contrast between the static, horizontal bands and the dynamic, rhythmic movement of the red figures creates a tension that defines the visual experience of the piece. This work is held in the collection of the State Russian Museum in Saint Petersburg, where it remains a primary example of Malevich's later period, during which he returned to figurative themes while maintaining the structural logic of his Suprematist theories.
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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
Red Cavalry - 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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