Resting. Society in Top Hats - Kazimir Malevich
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Beschreibung
A 1908 work by Kazimir Malevich featuring a stylised, decorative arrangement of figures in formal attire against a flat green background.
Produced in 1908, this work by Kazimir Malevich captures a scene of leisure that predates his later transition into Suprematism. The composition is dominated by a flat, uniform field of green, which serves as a stage for a collection of figures dressed in formal attire. Malevich employs a decorative approach, arranging the individuals in a manner that prioritises pattern over traditional perspective. The figures, clad primarily in white, are scattered across the surface, creating a rhythmic repetition of shapes that suggests a social gathering or a garden party.
The use of colour is deliberate, with the stark white of the clothing contrasting against the saturated green background. Small, stylised floral elements are interspersed among the figures, adding to the ornamental quality of the piece. While the subjects wear top hats and long dresses, their forms are simplified into near-abstract shapes. This reduction of detail reflects the artist's early interest in the decorative possibilities of painting and his move away from academic realism.
Malevich was active in the Russian avant-garde, and this work provides a view into his early stylistic experiments. The lack of depth and the emphasis on the two-dimensional surface are characteristics that would eventually inform his more radical geometric abstractions. The figures appear suspended in a timeless, non-specific space, detached from any particular narrative or environmental context. This print captures the specific aesthetic of the period, where the influence of folk art and modern design began to merge. It is a study in balance and arrangement, focusing on the visual interplay between the human form and the surrounding space.
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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
Resting. Society in Top Hats - 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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