Woman Torso - Kazimir Malevich
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A striking example of Malevich's later figurative work, combining geometric abstraction with a simplified human form.
Kazimir Malevich, a central figure in the development of abstract art, produced this work during his later period. By this time, the artist had returned to figurative subjects, yet he applied the strict geometric principles of his earlier Suprematist experiments. The composition presents a figure divided into two distinct halves. One side remains largely blank, rendered in a pale, neutral tone that suggests a veil or a simplified silhouette. The other side is constructed from bold, flat blocks of primary and secondary colours.
The face is reduced to essential shapes: a black semicircle for the head, a vertical blue rectangle for the neck, and a red arc crowning the brow. The torso is defined by solid fields of orange, yellow, and green. Malevich avoids traditional modelling or shading, choosing instead to rely on the interaction of pure colour and geometric form. This approach strips the human form of its individual identity, transforming the figure into a collection of signs and symbols.
This work reflects the artist's interest in the synthesis of folk art traditions and modern abstraction. The stark contrast between the white, unadorned side and the colourful, structured side creates a visual tension. It invites the viewer to consider the relationship between the physical body and the conceptual framework of art. The paint application is smooth, allowing the colours to sit on the surface without the distraction of brushwork. This piece provides a clear example of how Malevich maintained his rigorous formal logic even when reintroducing representational elements into his practice. It is a study in balance, reduction, and the power of primary colour to define space and form.
You might also like
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. 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.
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
Woman Torso - 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.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like