Morning in the Village after Snowstorm - Kazimir Malevich
Archival giclée
Ready to hang
Secure checkout
Made to order
Description
Kazimir Malevich's 'Morning in the Village after Snowstorm' (1912) is a Cubist-inspired oil painting depicting a rural winter scene through geometric forms and a restrained colour palette, marking a transition towards Malevich's Suprematism.
Kazimir Malevich's 1912 oil on canvas, *Morning in the Village after Snowstorm*, exemplifies the artist's move towards abstraction. The painting depicts a rural scene transformed through a Cubist lens. Figures and buildings are rendered as geometric forms, fracturing the conventional representation of space and volume. The colour palette is restrained, dominated by whites and greys that evoke the crispness of a winter morning. Accents of red and blue punctuate the composition, adding depth and visual interest. Malevich's work from this period reflects the influence of both Cubism and Futurism, movements that sought to capture the dynamism of modern life. However, Malevich moved beyond these influences, developing his own distinct style known as Suprematism. This painting represents a transitional phase in Malevich's career, bridging his earlier representational works with his later, purely abstract compositions. The simplification of forms and the emphasis on geometric shapes foreshadow the radical abstraction that would define his Suprematist paintings. *Morning in the Village after Snowstorm* offers insight into Malevich's artistic evolution, revealing his experimentation with form and colour as he moved towards a new visual language.
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.
Morning in the Village after Snowstorm - 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
Why Choose Us ?
100% Satisfaction Guarantee
Fast Shipping
Museum-Quality Materials
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.
You May Also Like