Taking in the Harvest - Kazimir Malevich
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A 1911 work by Kazimir Malevich depicting peasant labourers through the lens of Cubo-Futurist geometric simplification and saturated colour.
Taking in the Harvest, painted by Kazimir Malevich in 1911, belongs to a period of his career where he explored the synthesis of traditional Russian peasant life with the formal innovations of European modernism. The composition depicts figures engaged in agricultural labour, yet the treatment of form moves away from strict realism. Malevich employs a cylindrical approach to the human body and the surrounding environment, creating a rhythmic, almost mechanical repetition of shapes.
The figures are rendered with simplified, rounded volumes that echo the forms of the harvested produce. The palette is dominated by saturated tones of red, green, and yellow, which provide a sense of visual weight and energy. By reducing the human form to these geometric components, Malevich directs the viewer's attention to the physical act of working the land rather than individual portraiture. The space is compressed, with the figures and the harvest objects occupying the entire picture plane, which removes the need for a traditional horizon line or atmospheric perspective.
This work reflects the artist's interest in the aesthetic qualities of folk art, combined with the structural rigour of early twentieth-century avant-garde movements. The figures appear as part of a larger, unified system of labour, where the distinction between the person and the object is blurred through colour and shape. This approach allows for a focus on the essential movements of the harvest, capturing the repetitive nature of the task through a deliberate, stylised visual language. The painting remains a clear example of how Malevich experimented with the simplification of form before his eventual transition into the non-objective art of Suprematism.
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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
Taking in the Harvest - 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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