Portrait of a Youth - Kazimir Malevich
Archival giclée
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Description
An early portrait by Kazimir Malevich, displaying Post-Impressionist influences and a focus on structural form through non-naturalistic colour.
This early work by Kazimir Malevich dates to approximately 1903, a period before his transition into the geometric abstraction of Suprematism. The painting displays a clear debt to the Post-Impressionist tradition, particularly the influence of Paul Cézanne and the Fauvist interest in non-naturalistic colour application. The subject is a young man, rendered with a direct, frontal gaze that engages the viewer. His skin tones are composed of pale greens, yellows, and greys, which depart from traditional portraiture techniques to create a sense of atmospheric detachment.
The figure wears a striped garment, divided into distinct blue and red sections, which provides a graphic contrast to the muted, textured background. Malevich uses visible, rhythmic brushstrokes to build the form of the youth, prioritising the structural integrity of the composition over photographic likeness. The hands are positioned in a gesture that suggests a quiet, contemplative state. This work offers a view into the formative years of an artist who would later redefine the boundaries of modern art. It captures a moment of stylistic experimentation, where the artist explores the relationship between colour, form, and the human figure. The application of paint is deliberate and heavy, contributing to the physical presence of the canvas. By focusing on the interplay of light and shadow through a limited, controlled palette, Malevich demonstrates his early mastery of composition and his ability to manipulate the viewer's perception of space. This print reproduces the textures and tonal variations of the original oil painting, allowing for a close examination of the artist's early brushwork and his departure from academic realism.
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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
Portrait of a Youth - 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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