Suprematistic composition (Feeling of the current. Telegraphy.) - Kazimir Malevich
Stampa giclée d'archivio
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Pagamento sicuro
Fatto su ordinazione
Descrizione
A 1914 pencil study by Kazimir Malevich, exploring the geometric principles of Suprematism through abstract forms and symbolic motifs.
Kazimir Malevich developed the theory of Suprematism in 1913, seeking to liberate art from the representation of the material world. This work, dating from 1914, belongs to a period where the artist explored the reduction of visual language to basic geometric forms. The composition features a series of stark, black shapes arranged against a neutral ground. These include vertical bars, a chevron, and a horizontal line, alongside a small circle and a rectangular insert containing a club symbol. The inclusion of the letter T and the club motif suggests a dialogue between abstract form and the semiotics of everyday objects or communication systems, as indicated by the title's reference to telegraphy.
Malevich intended for these works to communicate pure feeling through the economy of means. By stripping away narrative and figurative elements, he forced the viewer to engage with the spatial relationships between the shapes themselves. The pencil marks remain visible, providing a sense of the artist's hand and the preparatory nature of the drawing. The composition is balanced, yet it avoids traditional symmetry, creating a tension that reflects the artist's interest in the dynamics of energy and movement. This piece offers a clear view into the early development of non-objective art, where the focus shifts from the subject matter to the arrangement of form and space on a two-dimensional surface. It is a study in the potential of minimal visual elements to convey complex concepts, such as the transmission of information or the sensation of modern technology, without relying on literal depiction.
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Produzione
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Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
- Stampa giclée di qualità museale per colori ricchi e resistenti allo sbiadimento
- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
Cura e pulizia
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- Spolvera delicatamente con un panno morbido e asciutto
- Evita l'esposizione prolungata alla luce solare diretta
- Non utilizzare mai detergenti liquidi sulla superficie della stampa o della tela
- Conserva in un ambiente asciutto a temperatura ambiente
- Maneggia le stampe con mani pulite e asciutte
Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Suprematistic composition (Feeling of the current. Telegraphy.) - 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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