Portrait of the Artist's Daughter - Kazimir Malevich
Giclée de archivo
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Pago seguro
Hecho bajo pedido
Descripción
A late-career figurative portrait by Kazimir Malevich, featuring his daughter rendered with bold, simplified forms and a striking red and white palette.
This portrait depicts the daughter of Kazimir Malevich, painted during the final years of the artist's life. While Malevich is widely recognised for his development of Suprematism and geometric abstraction, his later works often returned to figurative subjects. This piece demonstrates a shift in his approach, moving away from the non-objective forms that defined his earlier career toward a more grounded, representational style.
The subject is rendered with a focus on form and colour, set against a dark, atmospheric background. She wears a white garment accented with red details at the collar, cuffs, and waist, which provides a stark contrast to the surrounding gloom. The brushwork is deliberate, showing the texture of the paint and the physical application of the medium. The figure holds a simple object, perhaps a skipping rope, which adds a sense of domesticity and stillness to the composition.
Malevich's return to figuration in the 1930s is a subject of interest for art historians, as it reflects the changing political and cultural climate in the Soviet Union at the time. This portrait captures a quiet, personal moment, distinct from the radical experiments of his youth. The treatment of the face and the simplified clothing reflect a synthesis of his earlier interest in peasant art and the structural rigour of his avant-garde period. The work remains a compelling example of the artist's versatility and his ability to adapt his visual language to different modes of expression throughout his career.
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Fabricación
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.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
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
Portrait of the Artist's Daughter - 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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