Suprematistic composition (Feeling of a mystic wave out of the cosmos) - Kazimir Malevich
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A seminal pencil drawing by Kazimir Malevich, exploring the geometric language and metaphysical concerns of the Suprematist movement.
This work by Kazimir Malevich represents the core tenets of Suprematism, a movement he initiated to strip art of its representational obligations. By focusing on pure geometric form and the relationship between shapes, Malevich sought to express what he termed the supremacy of pure feeling. The composition features a collection of stark, monochromatic elements arranged within a defined rectangular boundary.
Central to the piece is a club symbol, a motif that appears in several of Malevich's works from this period, alongside a series of vertical bars, a chevron, and a small circle. These shapes do not refer to external objects or physical reality. Instead, they function as autonomous units of visual language. The inclusion of the letter T and the club symbol introduces a semiotic layer, yet these remain detached from traditional narrative context. The pencil medium allows for a subtle variation in tone, where the graphite marks interact with the texture of the paper to create a sense of depth despite the flat arrangement of the forms.
Malevich viewed the cosmos as a space of infinite potential, and this drawing reflects his interest in the metaphysical dimensions of non-objective art. The arrangement suggests a deliberate, almost architectural balance, where the weight of the vertical rectangles anchors the lighter, more delicate symbols above. By removing the distraction of colour, the artist directs the viewer to the structural logic of the composition. This piece offers a glimpse into the experimental phase of early twentieth-century abstraction, where the artist moved away from the depiction of the material world to explore the possibilities of pure, non-representational geometry. It remains a clear example of the rigorous intellectual framework that defined his contribution to modern art history.
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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 (Feeling of a mystic wave out of the cosmos) - 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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