Oil on canvas
70 x 58
State Russian Museum
A growing predilection for figurativeness can be noted in Kazimir Malevich’s later works and above all his portraits. His painterly devices are reminiscent of the Renaissance frescoes The artist underlines the reticent expression of the faces, the majestic poses and the unusual gesture of the hands, more typical of the depiction of a saint in an icon than a self-portrait. All these details are, however, deliberate and premeditated, leading us away from the characteristics of a concrete personality towards a generalized and synthetic image.
Malevich, Kazimir Severinovich (1878, Kiev - 1935, Leningrad)
Painter, graphic artist, writer on art, portraitist, landscapist, abstractionist. Studied at the Kiev School of Art (1895-1896) and Fyodor Roehrberg's studio in Moscow (1906-1910). Contributed to exhibitions (from 1905). Contributed to the exhibitions of the Moscow Fellowship of Artists (from 1907), Donkey's Tail (1912), Target (1913), Der Blaue Reiter (1912), Salon des Independants (1914), Tramcar V. First Futurist Exhibition (1915) and 0,10. Last Futurist Exhibition (1915-1916). Designed the sets and costumes for the Futurist opera "Victory Over the Sun" (1913). Member of the Union of Youth (1910) and Jack of Diamonds (1910, 1916). Founded the AFFIRMES OF THE NEW ARTgroup (1920). Worked for Department of An People's Commissariat of Education (1918-1919). Director of the Museum/Institute of Artistic Culture in Petrograd/Leningrad (1923-1926).