Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Black Square and Red Square - Kazimir Malevich
Precio habitual
£28.00 GBP
Precio de oferta
£28.00 GBP
Precio habitual
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A seminal work of Suprematism, this 1915 painting by Kazimir Malevich explores pure geometric form and colour, rejecting representational art.
Kazimir Malevich created Black Square and Red Square in 1915, a period during which he developed his theory of Suprematism. This movement sought to move beyond the representation of objects in the physical world, focusing instead on the supremacy of pure feeling or perception in the pictorial arts. By stripping away narrative, symbolism, and traditional perspective, Malevich aimed to reach a zero point of painting.
The composition consists of two geometric forms placed against a neutral, off-white background. The black square occupies the upper left, while the red square is positioned lower and to the right. The slight tilt of the red square introduces a sense of tension and movement, contrasting with the static, upright orientation of the black square. The paint application is deliberate, showing the texture of the brushwork across the surface of the canvas.
Malevich presented this work at the 0.10 Exhibition in Petrograd, where he famously hung his black square in the corner of the room, a position traditionally reserved for religious icons in Russian homes. This placement was a calculated gesture, intended to replace the spiritual authority of the icon with the new, non-objective reality of Suprematist art. The work rejects the imitation of nature, prioritising the relationship between colour, form, and space. It remains a primary example of early twentieth-century abstraction, reflecting the artist's desire to liberate art from the constraints of social and political utility. The simplicity of the forms invites the viewer to engage with the canvas as a self-contained object, rather than a window into another world.
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Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
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- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
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Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
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Black Square and Red Square - Kazimir Malevich
Precio habitual
Desde £28.00 GBP
Precio de oferta
Desde £28.00 GBP
Precio habitual
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Kazimir Malevich
Malevich hung Black Square in the corner of the room where Russians traditionally hang religious icons. This was in 1915, at the Last Futurist Exhibition in Petrograd. A black square on a white ground, placed where the icon should be. He called it the zero of form.
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.
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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Fine Art Framed
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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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