Black Square - Kazimir Malevich
Archival giclée
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Description
Kazimir Malevich's *Black Square*, painted in 1915, is a foundational work of abstract art and the Suprematist movement. The painting's simple geometric form represents a radical departure from representational art.
Kazimir Malevich's *Black Square* is a seminal work of abstract art, painted in 1915. It is more than just a simple geometric shape; it represents a radical break from representational art and a move towards pure abstraction. Malevich conceived of Suprematism as a new art movement focused on basic geometric forms, such as squares and circles, which he believed could convey a spiritual purity beyond the material world. The painting itself is deceptively simple. A black square is set against a white background. Close inspection reveals the black is not a uniform shade, but composed of subtly varying tones and textures. The surface is cracked, revealing the history of the painting and adding to its visual complexity. The square is not perfectly rendered, with slight irregularities in its edges, giving it a human quality. This imperfection is part of the work's appeal, suggesting a handmade object rather than a mechanically produced one. *Black Square* was first exhibited in the *Last Futurist Exhibition 0,10* in Petrograd. It was hung high in a corner of the room, a placement that echoed the traditional placement of religious icons in Russian homes. This positioning reinforced the idea that the painting was meant to be seen as a new kind of icon, one that represented the end of traditional art and the beginning of a new artistic era.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Black Square - Kazimir Malevich
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- 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
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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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