Triumph of the Skies - Kazimir Malevich
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Beskrivning
A 1907 Symbolist work by Kazimir Malevich featuring ethereal figures and celestial imagery in a monochromatic golden palette.
Triumph of the Skies, painted by Kazimir Malevich in 1907, represents a period of his career before his transition into the geometric abstraction of Suprematism. During these early years, Malevich experimented with Symbolist themes, often drawing upon religious iconography and mystical subjects. The composition features a central, ethereal figure presiding over groups of haloed, nude figures arranged in a tiered, cloud-like formation. The palette is dominated by monochromatic golden-yellow tones, which imbue the scene with a sense of otherworldly light.
The figures are rendered with a degree of stylisation that suggests a departure from academic realism. Their forms are simplified, and their postures are repetitive, creating a rhythmic, almost decorative effect across the canvas. The use of tempera contributes to the matte, textured surface of the work, which enhances the dreamlike quality of the imagery. This piece reflects the influence of Russian folk art and Byzantine icon painting, both of which were significant to Malevich during this stage of his development. The arrangement of the figures, with their circular halos and uniform gestures, suggests a celestial hierarchy or a vision of spiritual ascension.
While Malevich is widely recognised for his later non-objective works, this painting provides insight into his early exploration of spiritual and cosmic themes. The work avoids the stark lines of his later output, favouring instead a soft, atmospheric approach to form. It remains a curious example of the artist's engagement with the mystical traditions that permeated the Russian avant-garde at the turn of the twentieth century. The print captures the subtle variations in the golden hues and the delicate application of the tempera medium, preserving the atmospheric quality of the original composition.
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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
Triumph of the Skies - 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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