Sisters - Kazimir Malevich
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Beschreibung
A 1908 oil painting by Kazimir Malevich, capturing two figures in white dresses standing before an iron fence in a park setting.
Painted in 1908, Sisters represents a period in the career of Kazimir Malevich before his shift toward the geometric abstraction of Suprematism. During these early years, Malevich experimented with various European styles, including Impressionism and Fauvism. This work displays a clear interest in the application of colour and the treatment of light, moving away from strict realism toward a more expressive, painterly approach.
The composition features two women standing before an ornate iron fence. They are dressed in white, their forms rendered with loose, visible brushwork that suggests the texture of their clothing and the dappled light filtering through the trees behind them. The blue hats provide a sharp contrast to the surrounding greenery and the pale tones of the figures. Malevich uses a palette dominated by cool greens, whites, and blues, which creates a sense of atmospheric depth despite the relatively flat treatment of the background.
The iron fence acts as a visual barrier, separating the two subjects from the activity occurring in the background. Small figures are visible in the distance, suggesting a public park or garden setting. The brushstrokes are energetic and rhythmic, reflecting the influence of contemporary French painting styles that Malevich encountered during his formative years. While the figures are identifiable as individuals, the focus remains on the interplay of colour and the decorative quality of the scene. This painting offers a view into the stylistic transition of an artist who would soon become a central figure in the development of modern art. It captures a moment of leisure, rendered with a focus on the sensory experience of the environment rather than a precise depiction of the subjects.
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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
Sisters - 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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