Kazimir Malevich
Morning in the Village after Snowstorm
From $80
This painting is two whites, one cool and one warm, and a cheap copy turns them into one flat grey. Our Malevich White on White print was graded beside the original so the two whites stay distinct and every brushstroke in the tilted square still shows.
Canvas, framed or paper
Stretched canvas. Printed on cotton canvas and stretched taut over a frame. The edges are mirror-wrapped, so the picture continues around the sides and none of it is lost to the fold.
Framed canvas. The same canvas, set in a black, white, natural wood or dark wood frame 0.83 in deep. The frame gives the work a finished edge and a little more presence on the wall.
Framed print. Printed on fine art matte paper and framed in solid pine, behind shatterproof plexiglass, in black, white, natural wood or dark wood. It arrives ready to hang. Framed sizes are measured on the outside of the frame.
Fine art print. Printed on 310gsm fine art matte paper, for framing your own way. It travels rolled and protected. From 18x24 inch.
Sizes
16x16 inch, 20x20 inch, 24x24 inch, 30x30 inch. Framed sizes are measured on the outside of the frame, so the visible painting is a little smaller.
On your wall
Its square shape suits a calm bedroom, a study or a minimal living room. The soft whites look serene with white, linen and pale wood, and a thin white or natural frame keeps it light.
About the painting
Suprematist Composition: White on White by Kazimir Malevich
1918
In 1918, the year after the October Revolution, Kazimir Malevich took Suprematism as far as it could go. He had painted a black square and a red one; now he painted a white square on white.
Floating
The square sits off-centre and tilted, on a ground of a slightly warmer white. For Malevich white stood for infinity, and the tilt suggested movement, as if the square were floating out of the canvas.
Something could be done on it
A rival artist joked that it was the only good canvas in the exhibition: a pure, white canvas with a very good prime coating, he said, something could be done on it. Malevich left it in Berlin in 1927. The Museum of Modern Art in New York first showed it in 1935, and it has been in the collection since 1963.
Read the story
A white square, on white.
In 1918, the year after the October Revolution, Kazimir Malevich took his new art, Suprematism, as far as it could go.
He'd painted a black square, and a red one. Now he painted a white square, nearly eighty centimetres across, on a slightly warmer white.
It sits off-centre and tilted, as if it were floating out of the canvas.
For Malevich, white stood for infinity, and the tilt suggested movement.
Not everyone was convinced. A rival artist joked that it was a pure white canvas with a very good prime coat. Something could be done on it, he said.
Malevich left it in Berlin in 1927, with the architect Hugo Häring. The Museum of Modern Art in New York first showed it in 1935, and it's been in the collection since 1963.
Look for the edges of the tilted square.
White on White. Kazimir Malevich, 1918.
How each piece is brought to life
Faithful to the original, and made to be felt on your wall.
Graded against the original
We compare every work with the original as we grade it, keeping the artist’s colours true while bringing back their depth and glow. Every mark stays the artist’s own.
Printed for you
Printed to order on cotton canvas or fine art paper, then framed if you chose a frame, in 1 to 3 business days.
On your wall
It arrives 5 to 12 business days later, tracked and free anywhere in the US. Framed pieces come ready to hang.
Questions
Is this the original painting?
No. The original hangs in a museum. What you receive is a fine art reproduction, remastered from the original and printed for you, with every mark where the artist left it.
Will the colour look flat?
This is where most reproductions disappoint, and it is where we spend the most time. Each work is graded side by side with the original: faithful to the artist’s colours, with the depth and warmth brought back, so it moves you on the wall the way it was meant to. Canvas reads a touch softer than a backlit screen, and every screen shows colour a little differently.
Will the edges be cropped?
Each size is a standard frame size, so we fit the painting by trimming a little from its edges. We never stretch or squash it, and we check every size by eye so no face, figure or signature is cut. On canvas the edges are mirror-wrapped, which keeps the whole picture on the front.
Which size is right for my wall?
Aim for about two-thirds the width of the furniture beneath it. Over a sofa or a sideboard, one of the two largest sizes will hold the wall. The size guide lists every size in inches and centimetres, with the kind of wall each one suits.
How long does it take?
Your piece is printed in 1–3 business days, then spends 5–12 business days in transit, tracked all the way. Delivery is free anywhere in the US. We are unable to deliver to PO boxes.
What if it arrives damaged?
Send us a photograph and we will remake it and send it again. There is nothing to return.
Can I return it?
Yes, within 30 days of delivery. Our returns policy has the details.
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Printed to order
Graded against the original, then printed for you on cotton canvas or fine art paper in 1–3 business days.
The whole painting
Every mark is the artist’s own, and canvas edges are mirror-wrapped so the whole picture stays on the front.
Free US shipping
On every order, tracked, 5–12 business days in transit.
30-day returns
Returns and exchanges within 30 days of delivery.
