Portrait (Kazimir Malevich) - Kazimir Malevich
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A late-period self-portrait by Kazimir Malevich, featuring simplified forms and a bold, restricted colour palette that bridges historical portraiture and modern abstraction.
This self-portrait by Kazimir Malevich, produced during the final years of his career, presents a departure from his earlier non-objective Suprematist compositions. The work reflects a return to figurative painting, yet it retains the flattened perspective and simplified forms characteristic of his earlier experiments. The subject is depicted in a formal, almost archaic costume, reminiscent of Renaissance portraiture, which creates a tension between historical reference and modern abstraction.
The colour palette is deliberate and restricted. The bold red of the headpiece and the garment contrasts with the stark white background and the muted green of the central panel. Malevich employs a heavy, visible brushwork that gives the surface a tactile quality. The facial features are rendered with minimal detail, focusing instead on the geometric arrangement of the head and shoulders. The blue collar provides a sharp break in the composition, drawing the eye toward the centre of the figure.
During this period, Malevich engaged with various stylistic influences, including the Italian Renaissance and the Russian icon tradition. This portrait demonstrates his interest in the synthesis of these historical modes with his own theories on form and colour. The figure appears detached, existing in a space that lacks depth or environmental context. By stripping away the narrative elements typically found in portraiture, Malevich forces the viewer to confront the image as a construction of pure shape and hue. The work is a study in the persistence of the artist's vision, even as he moved away from the radical abstraction that defined his earlier output. It remains a significant example of his late-period stylistic shift, where the boundaries between the representational and the abstract become increasingly porous.
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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
- Handle prints with clean, dry hands
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
Portrait (Kazimir Malevich) - 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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