Winter Landscape - Kazimir Malevich
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A 1909 Neo-Impressionist work by Kazimir Malevich, featuring rhythmic brushwork and a light-filled palette to evoke a winter atmosphere.
This work by Kazimir Malevich, dating to 1909, reflects the artist's early engagement with Neo-Impressionist techniques before his transition toward Suprematism. The composition employs a dense application of paint, where short, rhythmic brushstrokes build the surface texture. Malevich uses a palette dominated by pale yellows, whites, and muted ochres to suggest the atmospheric quality of a winter scene.
Rather than focusing on precise representational detail, the artist prioritises the interaction of colour and light. The vertical orientation of the strokes creates a sense of rhythm across the canvas, suggesting the presence of trees or architectural elements without explicitly defining them. This approach demonstrates an interest in the materiality of paint and the way light reflects off a textured surface. The work occupies a space between observation and abstraction, showing how Malevich experimented with the divisionist method to construct form through colour.
By 1909, Malevich was actively absorbing influences from Western European modernism, particularly the work of French artists who utilised pointillist or divisionist theories. This painting is a clear example of his technical development during this period. The lack of a traditional horizon line or deep perspective flattens the image, drawing the viewer's attention to the surface of the canvas itself. It provides a view into the stylistic shifts occurring in early twentieth-century Russian art, where artists moved away from academic realism toward more subjective interpretations of the natural world. The work remains a study in how colour can be used to evoke the feeling of a season through texture and light, rather than through literal depiction.
Política de devoluciones
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Envío
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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
Winter Landscape - 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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