The Running Man - Kazimir Malevich
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Beschreibung
A striking example of Kazimir Malevich's later figurative work, featuring a simplified, anonymous figure in motion against a bold, primary-coloured background.
Kazimir Malevich produced The Running Man during the final phase of his career. This period saw a return to figurative subjects, yet the work retains the stark, geometric clarity associated with his earlier Suprematist experiments. The composition features a central figure in motion, rendered with simplified forms and a flat, non-naturalistic application of paint. The figure wears a green tunic and white trousers, set against a deep blue background that suggests an expansive, empty space.
The painting incorporates symbolic elements, such as the red cross and the small, block-like structures in the background. These motifs appear frequently in Malevich's later works, often interpreted as references to the changing social and political conditions in the Soviet Union during the 1930s. The figure lacks distinct facial features, appearing as a universal, anonymous entity rather than a specific individual. This anonymity aligns with the artist's interest in reducing human presence to essential, iconic shapes.
The colour palette is primary and bold, relying on the contrast between the saturated blue, the bright red of the cross, and the neutral white of the trousers. The brushwork is deliberate and visible, avoiding the smooth finish of traditional academic painting. By placing the figure on a horizontal band of colour, Malevich creates a sense of movement across a stage-like setting. This work demonstrates the artist's ability to synthesise his radical abstract theories with a renewed focus on the human form, resulting in a composition that feels both timeless and specific to the era of its creation. It remains a notable example of the transition between the avant-garde movements of the early twentieth century and the shifting requirements of Soviet 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
The Running Man - 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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