Woman picking flowers - Kazimir Malevich
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
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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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
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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