Woman picking flowers - Kazimir Malevich
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Beschreibung
A 1908 Symbolist work by Kazimir Malevich, featuring simplified figures in a golden, dreamlike garden setting.
This work by Kazimir Malevich, dated 1908, represents a period of experimentation before his transition into Suprematism. The composition features several figures positioned within a dense, golden-yellow environment. The treatment of the human form is simplified, prioritising colour and atmosphere over anatomical precision. The figures appear to merge with the surrounding foliage, creating a unified surface where the distinction between the subjects and their environment is intentionally blurred.
Malevich employs a palette dominated by shades of yellow, ochre, and light green. This choice of colour creates a dreamlike quality, moving away from the realistic depiction of nature. The application of paint is relatively flat, with the figures defined by subtle variations in tone rather than strong outlines. The floral elements are rendered as decorative motifs, contributing to the overall rhythmic quality of the piece. This approach reflects the influence of Symbolist painting, where the goal is to evoke a mood or an internal state rather than to document a specific scene.
During this time, Malevich was exploring various European modern art styles, including Fauvism and Post-Impressionism. The influence of these movements is visible in the non-naturalistic use of colour and the flattened spatial depth. The work avoids traditional perspective, opting instead for a decorative arrangement that emphasises the two-dimensional nature of the canvas. By focusing on the interaction between the figures and the stylised flora, Malevich creates a scene that feels removed from time and place. This piece offers a view into the artist's early development, showing his interest in the expressive potential of colour and the simplification of form, which would later inform his more radical contributions to twentieth-century 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
Woman picking flowers - 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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