Costume Design for 'Victory Over the Sun' (New Man) - Kazimir Malevich
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Description
A costume design by Kazimir Malevich from 1913, created for the Futurist opera 'Victory Over the Sun'. The design features geometric shapes and bold colours, reflecting Malevich's Suprematist style.
This costume design by Kazimir Malevich dates to 1913 and is a preparatory sketch for the Futurist opera, 'Victory Over the Sun'. Malevich designed the sets and costumes for the opera, which premiered in St. Petersburg. The opera is considered a landmark of Russian Futurism, and Malevich's designs are a key element of its radical aesthetic. The opera tells an allegorical story of humanity's triumph over nature, symbolised by the sun. The costume design features a figure composed of geometric shapes and bold colours. The figure's head is green, and the body is constructed from rectangles and triangles in black, yellow, purple, and grey. The design reflects Malevich's developing Suprematist style, which sought to reduce art to its most basic geometric forms. The angularity and abstraction of the costume convey a sense of dynamism and modernity, aligning with the Futurist movement's embrace of technology and the future.
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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.
Costume Design for 'Victory Over the Sun' (New Man) - Kazimir Malevich
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Specific Features
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- Museum-grade giclée printing for rich, fade-resistant colour
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- Frames in black, natural wood, dark wood or white
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- Dust gently with a soft, dry cloth
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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
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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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