Triple portrait - Kazimir Malevich
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Beschreibung
A striking early work by Kazimir Malevich, this portrait displays the bold colours and simplified forms characteristic of his Neo-Primitivist period.
This work, dating to the early twentieth century, captures the experimental spirit of Kazimir Malevich before his shift toward pure abstraction. The composition features three figures arranged in a frontal, static manner, reflecting the influence of Russian icon painting and folk art traditions. The central figure wears a striking red cap and matching garment, providing a bold chromatic anchor against the darker, more muted tones of the flanking subjects.
Malevich employs a simplified, block-like application of paint. The brushwork is visible and deliberate, avoiding the smooth finish of academic portraiture. The faces are rendered with minimal modelling, focusing instead on the structural weight of the forms. The blue background creates a shallow space, pushing the figures forward and forcing the viewer to engage directly with their gaze. This approach is characteristic of the Neo-Primitivist phase in Russian art, where artists sought to strip away the artifice of Western European realism in favour of more direct, elemental modes of expression.
While Malevich is often associated with the later Suprematist movement, this portrait provides a view into his earlier explorations of colour and form. The figures possess a monumental quality, despite their modest scale. The lack of environmental detail ensures that the focus remains entirely on the human presence. The work demonstrates his interest in the synthesis of traditional Russian visual culture with modern stylistic concerns. It is a study in balance and colour, where the repetition of the human form serves to create a rhythmic, almost ritualistic visual experience. The painting remains a clear example of the artist's transition from representational art to the radical simplification that would define his later career.
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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
Triple portrait - 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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