Gardener - Kazimir Malevich
Archival giclée
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Description
A bold Neo-Primitivist painting by Kazimir Malevich, featuring a gardener rendered in simplified, expressive forms and primary colours.
This work by Kazimir Malevich, titled Gardener, dates to the artist's Neo-Primitivist period. During this phase, Malevich drew inspiration from Russian folk art, icon painting, and the bold colour palettes of the Fauves. The composition features a central figure engaged in manual labour, rendered with simplified, block-like forms that reject traditional academic perspective.
The figure is depicted in a striking yellow and red coat, with a face obscured by a mask-like red covering. This stylised approach to the human form is characteristic of Malevich's early experiments with abstraction, where the focus shifts from realistic representation to the arrangement of colour and shape. The background contains potted plants and a wheelbarrow, yet these elements remain secondary to the rhythmic, almost decorative application of paint across the canvas surface.
Malevich employs a high-chroma palette, utilising primary colours to create a sense of energy and movement. The brushwork is direct and unrefined, reflecting an interest in the raw, expressive qualities of folk traditions. By stripping away unnecessary detail, the artist directs the viewer's attention to the structural relationship between the figure and the surrounding environment. This piece offers a glimpse into the artist's transition from representational painting toward the geometric reduction that would later define his Suprematist works. It remains a clear example of the stylistic shifts occurring within the Russian avant-garde during the early twentieth century.
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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. See our refunds page for full details.
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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.
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
Gardener - 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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