Self-Portrait - Kazimir Malevich
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Beskrivning
An early Symbolist self-portrait by Kazimir Malevich, featuring the artist surrounded by ethereal figures in a warm, autumnal colour palette.
This early work by Kazimir Malevich offers a glimpse into the artist's creative output before his shift toward the geometric abstraction of Suprematism. Painted between 1908 and 1910, the composition reflects the influence of Symbolism and the decorative aesthetics prevalent in Russian art at the turn of the century. The artist presents himself at the centre of the frame, his gaze fixed directly upon the viewer. His features are rendered with a degree of stylisation that moves away from strict realism, favouring a flatter, more graphic approach to form.
The background is populated by a series of ethereal, haloed figures that surround the artist, creating a dreamlike or mystical atmosphere. These figures, depicted in a repetitive, rhythmic fashion, suggest a connection to folk art traditions and religious iconography. The colour palette is dominated by warm, autumnal tones, specifically deep oranges, ochres, and earthy browns, which provide a sense of unity across the entire surface. The application of paint is relatively flat, emphasising the decorative quality of the scene rather than three-dimensional depth.
Malevich's choice of attire, including the prominent red bow tie, adds a specific character to the portrait, grounding the otherwise otherworldly setting in a more personal, perhaps performative, context. The work demonstrates an interest in the expressive potential of colour and the arrangement of figures within a pictorial space. It remains a curious example of his early experimentation with non-naturalistic representation. By examining this piece, one observes the transition from traditional portraiture toward the conceptual concerns that would define his later career. The print captures the specific texture of the original oil paint, allowing for a clear view of the brushwork and the layered application of pigment that characterises this period of his development.
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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
Self-Portrait - 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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