Suprematistic composition (Combined feeling: Circle and square) - Kazimir Malevich
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Beskrivning
A seminal abstract work by Kazimir Malevich, exploring the geometric principles of Suprematism through a stark arrangement of basic forms.
Kazimir Malevich, a central figure in the development of non-objective art, produced this work during the early years of the Suprematist movement. Suprematism sought to liberate art from the representation of the physical world, focusing instead on the supremacy of pure feeling and geometric form. This drawing demonstrates the artist's exploration of basic shapes, such as the circle, square, and rectangle, arranged to create a sense of balance and tension within a two-dimensional space.
The composition features a series of stark, black geometric elements set against a neutral background. The inclusion of a club symbol and the letter T introduces a layer of semiotic ambiguity, suggesting a dialogue between pure abstraction and the remnants of symbolic communication. Malevich utilised these forms to strip away the narrative weight of traditional painting, encouraging the viewer to engage with the spatial relationships and the weight of the shapes themselves.
This piece reflects the experimental nature of the Russian avant-garde during the early twentieth century. The pencil lines remain visible, providing a sense of the artist's process and the immediate, raw quality of the initial concept. By reducing the visual vocabulary to its most basic components, Malevich aimed to achieve a state of zero-point in painting, where the image exists independently of external references. The work serves as a record of his attempt to define a new visual language, one that prioritises the interaction of form and void over the depiction of reality. It remains a clear example of the rigorous intellectual framework that defined his approach to art, moving away from the figurative traditions that dominated the preceding centuries.
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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
Suprematistic composition (Combined feeling: Circle and square) - 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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