Three Girls - Kazimir Malevich
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Description
A late-career figurative work by Kazimir Malevich, featuring three figures rendered with geometric simplicity and bold, flat colour blocks.
Kazimir Malevich, a figure associated with the development of abstract art, returned to figurative painting in his later years. Three Girls, produced around 1932, reflects this shift. The composition features three figures arranged in a frontal, static manner. Their forms are simplified, almost geometric, echoing the artist's earlier experiments with Suprematist shapes.
The figures possess mask-like faces, divided by a vertical line that creates a stark contrast between light and shadow. This treatment of the facial features removes individual personality, turning the subjects into archetypes. The clothing is rendered in blocks of colour: blue, yellow, white, and black. These areas of flat pigment create a sense of balance across the canvas. The red footwear provides a recurring visual element that anchors the figures to the ground.
Malevich employs a muted, neutral background that prevents the figures from receding into a spatial depth. Instead, the composition remains focused on the surface. The lack of traditional modelling or perspective suggests a move toward a symbolic or iconographic mode of representation. The girl on the left holds a small flower, a detail that introduces a subtle organic element to an otherwise rigid arrangement. This work demonstrates the artist's ability to apply the principles of non-objective art to the human form, resulting in a composition that prioritises structure and colour over narrative or psychological realism. The painting remains a clear example of the artist's late-career synthesis of his earlier radical abstraction with traditional subject matter.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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
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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
Three Girls - 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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