Portrait of Man (Kazimir Malevich) - Kazimir Malevich
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A 1933 portrait by Kazimir Malevich, showing the artist's late-career return to figurative painting with a focus on profile composition and bold colour.
This portrait, painted in 1933, represents a shift in the later career of Kazimir Malevich. While he is widely recognised for his invention of Suprematism and his reduction of painting to geometric essentials, his final decade saw a return to figurative subjects. This work displays the influence of the Italian Renaissance, particularly in the profile pose and the clear, structured composition. The subject is depicted in a formal, almost ceremonial manner, wearing a distinctive cap and a garment featuring bold, vertical bands of red and black.
The palette is restrained, relying on the contrast between the pale, luminous skin tones of the face and the dark, atmospheric background. The red and black elements on the clothing echo the colour theory Malevich applied throughout his career, though here they are applied to a representational form rather than a non-objective one. The brushwork is controlled, creating a smooth surface that emphasises the clarity of the silhouette.
Malevich painted this work during a period of increasing pressure from the Soviet authorities, who favoured Socialist Realism. By adopting a style that referenced historical portraiture, he navigated the difficult political climate of the 1930s. The figure is shown in profile, a choice that lends the subject a sense of detachment and timelessness. The hand, visible at the left, is rendered with a degree of simplification that aligns with his earlier experiments in form. This piece offers a view into the complex transition of an artist who moved between the radical avant-garde and a more traditional mode of expression. It remains a significant example of his late-period output, demonstrating his ability to maintain a distinct visual language even when working within the constraints of figurative art.
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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 of Man (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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